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XCbe Tllntversiti? of (EbicaaoFOUNDED BV JOHN D, ROCKEFELLER

THE METAPHORICAL TERMINOLOGYOF GREEK RHETORIC AND LITERARYCRITICISM

A DISSERTATION

SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTSAND LITERATURE IN CANDIDACY FOR THE DEGREE OF

DOCTOR OF PHILOSOPHY

(DEPARTMENT OF THE GREEK LANGUAGE AND LITERATURE)

BY

LARUE VAN HOOK

CHICAGOTHE UNIVERSITY OF CHICAGO PRESS

1905

Copyright 1905

By the University of Chicago

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FA

PREFACE

This dissertation, which is a study in the metaphorical termi-

nology of Greek Rhetoric and Literary Criticism, has the following

chief aims : first, after the origin and sources of the more obvious

figurative terms have been determined, to classify them accord-

ingly ; and, second, to define their uses as critical terms by English

and Latin equivalents. One or more examples of actual usage

which best illustrate the meaning or history of each term are

generally quoted. Further, the occasional citation of English

terms of similar origin or meaning, and the quotation of parallel

passages from both Latin and English literary critics, have been

considered not inappropriate.

A number of useful books are cited in the Appendix, to which

references are made by giving author's name and page. But I

S^ owe the most to the Lexicon of Ernesti and to Roberts' editions

of Longinus, Dionysius of Halicarnassus, and Demetrius, which

have been exceedingly helpful and freely used.

To Professor Paul Shorey, at whose suggestion this thesis was

written, I am greatly indebted for assistance. To both Professor

Shorey and Professor Edward Capps, as inspiring teachers and

"Vi friends, I wish to express my deepest gratitude.\>

279710

TABLE OF CONTENTS

I. INTRODUCTION „,^„PAGE

1. The Development of the Terminology in Ancient Criticism - 7

2. Faded and Unconscious Metaphorical Terms - - - - 9

3. Plan of Classification 10

II. CLASSIFICATION AND DEFINITION OF THE METAPHORICALTERMINOLOGY. TABULAR VIEW OF THE SOURCES

1. Terms borrowed from Nature - - 12

a) Water and its Properties ------- 12

b) Heat and Cold 13

c) Light and Darkness ---14d) Weight, Height, and Length 15

e) Flowers - - 17

2. Terms borrowed from the Human Body ; its Condition, Appear-ance, Dress, Care, etc. 18

3. Terms borrowed from Athletics, War, and the Sea - - - 23

4. Terms borrowed from Youth, Age, and Sex - - - - 26

5. Terms borrowed from Social Status ------ 27

6. Terms borrowed from the Sense of Taste 28

7. Terms borrowed from Deities and Religion - - - - 29

8. Terms borrowed from the Theater and Festivals - - - 31

9. Terms borrowed from the Disposition and Morals - - - 31

10. Terms borrowed from the Trades and Arts - - - - 33

a) Household Management 33

b) Roadmaking ----------33c) Medicine 34

d) Weaving, Spinning, and Embroidery 35

e) Carpentry 37

/) Metal-working - - 38

g) Engraving 39

h) Architecture 40

i) and j) Painting and Sculpture 42

III. APPENDIX1. List of Books .-.- 45

2. List of Authors Cited 45

3. Indices .--..------ 47

a) Greek - - - 47

b) Latin 49

c) English 50

5

I. INTRODUCTION

1. The Development op the Terminology in AncientCriticism

To trace the gradual development and increasing technicality

of the terminology in ancient Greek Criticism and Rhetoric with

completeness would be impossible owing to the almost total loss

of critical literature between Aristotle and Dionysius of Halicar-

nassus. Rhetoric had its beginnings in Sicily and Empedocles

{ca. 450 B. C.) is said to have been the inventor (Diog. L. 8, 57).

Then follow the names of the real founders, Corax and Tisias of

Syracuse, Gorgias and the Sophists. Aristophanes, in the Clouds

and Frogs, employs some new terms, although they are mainly

ludicrous coinages of comedy. Of the Attic orators Isocrates

(436-338 B. C.) is of the most importance for our study, as his

rhetorical discourses and political pamphlets contain considerable

discussion of literary style and composition. A number of

references are made to his writings.

In Plato (428-347 B. C.) and especially Aristotle we find a

different method of treating Rhetoric, viz., the philosophical. In

Plato this criticism is to be found for the most part in the Gorgias

and Phaedrus; in Aristotle, in the Rhetoric and Poetics. In the

technical terminology as developed by Aristotle we do not find

any great number of metaphorical terms, which more literary and

imaginative and less philosophical critics were to develop. Someexamples are : aycoviariK-q, aareia^ rjhvafia, rjhvveiv, elpofievr), eTnyaX-

Keveiv, larpevfiara, Kadap6<i, troLKCkia^ KoWr]ai<;, \lt6<;, 07AC09, ttXo/ct^,

TaTretw'?, vZapr}<;, yfrvxpo^- Nettleship (pp. 49 and 56) speaking

of the later literary criticism, of which Dionysius is the best

extant example, says that it employs a number of technical terms

of criticism which are unknown, at least to Plato and Aristotle;

many of the terms cited, however, are found in Aristotle, Plato,

and Isocrates, some of them in a technical sense. For example

:

avdr}p6<;, Isoc. 13, 18 and frequent; avdaStj';, Arist. Rhet. 3, 3;

a^iwfia, Arist. Rhet. 3, 2; d^eA.?J9, Arist. Rhet. 3, 9; Tret^w, Plat.

7

8 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

Gorg. 453 A; fieya\07rp€7ri]<;, Arist. Rhet. 3, 12; a-efivof;, ibid. 3, 3;

o-v<Trpe<f>eiv, ibid. 2, 24 and 3, 18.

The Ars Bhetorica ad Alexandrum, commonly attributed to

the rhetor Anaximenes, is probably later than Aristotle. It con-

tains considerable technical terminology, but little metaphorical.

From this point to Dionysius of Halicarnassus (first century B. C.)

we possess little or no Greek literary criticism. Doubtless the

lost New Comedy contained some literary discussion (Baker, "DeComicis Graecis Litterarum ludicibus," Harvard Studies, XV).

Four great critics, whose writings, if extant, would form connect-

ing links, are: Demetrius of Phalerum (300 B. C), Hegesias

(third century B. C. ), Hermagoras, largely followed by Cicero,

and Csecilius of Calacte, a contemporary of Dionysius at RomeIn the works of Dionysius, the great representative of a later

school of criticism, we meet for the first time a wealth of rhetorical

terminology. In his numerous writings we find freely used a

fully developed vocabulary which is completely adequate for the

purposes of the professional rhetorician and the broad literary

critic. Nor is he, like the representatives of the school which

was to follow, lacking in imagination. Figures of speech and

comparisons abound in his works. Thus his metaphorical vocabu-

lary is rich and varied, and furnishes the largest number of

examples of the terms considered in this study.

Two important works of doubtful authorship and date are the

treatises, On the Sublime, attributed to Longinus, and On Style,

assigned to Demetrius of Phalerum. Neither Longinus nor

Demetrius of Phalerum are to be considered as the probable

authors. As for their date, Roberts would assign both treatises

to the first century A. D. The interesting treatise On the Sublime,

which discusses the noble, the grand style, and treats of literary

criticism generally, while it possesses a sufficiently wide vocabu-

lary, yet does not present us with many new or metaphorical

terms. The treatise irepl epfiT)V€ia<; (de EL), attributed to

Demetrius, is extremely rich in rhetorical terms, and possesses a

very technical critical vocabulary. Some old terms are used in a

new sense, while new and expressive words have been invented.

Both of these works are frequently quoted in this study.

INTRODUCTION 9

The title, literary critic, can hardly be applied to Plutarch and

Lucian, though some literary criticism is found in their writings.

Consequently, a few references to them will be made. The scho-

liasts and the Anthology are of so little importance for our study

that they, too, may be dismissed without comment.

Hermogenes [ca. 170 A. D.) was a rhetorician of great repute,

whose treatises assumed the importance of textbooks for succeed-

ing centuries. His works, five in number, form a complete system

of Rhetoric, and enjoyed such vogue that innumerable commen-

taries were written on them by later rhetoricians and grammarians.

The works of Hermogenes fairly bristle with technical terms, but

as he belongs to the school of cut-and-dried rhetoricians rather

than to that of the imaginative literary critics, the metaphorical

terminology is not large.

Photius (IX cent. A.D.), Patriarch of Constantinople, is the

last Greek writer to be considered. His fit^XLoOrjKri, a review or

account of some 280 books, contains scattered literary criticisms

on writers, mainly ecclesiastical. While his critical vocabulary is

neither extremely varied nor copious, yet some references mayprofitably be made to him.

We need only mention the chief Roman rhetorical works: the

Rhetorica ad Herennium [ca. 85 B. C.) ; the lost work of Varro;

the rhetorical works of Cicero; the Ars Poetica of Horace; the

rhetorical writings of Tacitus and Quintilian. The value of these

works is greatly enhanced by the fact that their sources are to a

large extent lost Greek works. These writers have been freely

drawn upon for illustrative terms and comparisons.

2. Faded and Unconscious Metaphorical Terms

How much of the terminology is or can be non-metaphorical

is a question which cqnfronts us at the very beginning of our

study. Real literary criticism does not begin until a language is

practically developed. Thus a critical vocabulary is formed more

by appropriating and borrowing words and extending their uses

than by the invention of terms wholly new. Many of these terms

in reality metaphorical are either unconscious or faded. Thus it

is difficult in our study to tell where to draw the line sharply in

10 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

the selection of a strictly metaphorical terminology. Striking

and conscious images forcibly impress us and are immediately

evident. For example, when Dionysius speaks of Plato ^oarrpvxi-

^(ov Koi KTevii^cov rovi 8ia\6<yov<;, curling and combing his dialogues,

indicating the elaborate care and attention given them, or when

Ben Jonson imitating the Roman critics, speaks of a bony and

sinewy style, there is no difficulty in the recognition and classifi-

cation of such figures. On the other hand, weak and faint figures

are more numerous, for any expressive word may have been used

with varying shades of meaning before it is employed by literary

criticism. The metaphor is thus minimized through the blunting

of the original force. The number of these words is very large.

It will be easy, therefore, to criticise any collection of terms

because of omissions. But it must be kept in mind that this

study is necessarily restricted to the consideration of the more

obvious and conscious metaphorical terminology.

3. Plan of Classification

It is impossible to make a precise and strictly accurate classi-

fication of the sources of the metaphorical terminology. A minute

subdivision would multiply the categories to an intolerable

degree. Nor is it necessary to our study and definition of the

various critical terms. For the student of metaphor and simile

in literature it is convenient to consider figures under two general

heads: first, tropes drawn from the field of Nature, and, second,

those having their source in Human Life. So broad a division,

however, is of little service to us, for the critical terms drawn

from Nature as a source are very few as compared with those

which have Man and Human Life as their origin. And this is to

be expected ; for as oratory and rhetoric with the ancients were

regarded as fine arts, the result of painstaking endeavor, so it is

only natural to find the results of such human labor criticised in

terms originating in the Arts and man's activities generally.

The plan of classification followed, then, is simply to collect in

groups terms which belong by virtue of apparent primary use or

significance to certain general fields. The order in which the

groups are treated is purely arbitrary, but an endeavor has been

INTRODUCTION 11

made to place first the simplest images, and then groups of meta-

phorical terms which were suggested by an ever developing and

advancing civilization. So we consider first the terms from

Nature ; then, in Human Life, we may naturally place near the

first Man's Physical Constitution and his participation in Warand Athletics ; then Youth, Age, and Sex ; Social Status ; the

Sense of Taste ; Deities and Religion; the Theater ; Mental and

Moral Characteristics. It is convenient, last of all, to treat of the

Trades and Arts, from which general field a very large numberof critical terms and comparisons are borrowed.

II. CLASSIFICATION AND DEFINITION OFTHE TERMS

1. Teems Derived From Nature

We have already noted that figurative critical terms drawn

from Nature are few in number as compared with those having

their origin in Man and Human Life. Under the above heading,

however, the following classes may be considered: (a) Water

and its Properties; (6) Heat and Cold; (c) Light and Dark-

ness;

(cZ) Weight, Height, and Length;

(e) Flowers.

A. WATER AND ITS PROPERTIES

With the Greeks and Romans the conception of speech as a

stream which flows from the mouth is very common. In fact,

with the Romans, the metaphorical force in the expression flumen

orationis is weak, so generally is it used in place of the single word

oratio. For some exx. see Cic. de Or. 2, 15, 62 ; 2, 45, 188

;

de Nat. Deor. 2, 1, 1; 2, 7, 20; Quint. 9, 4, 61; 10, 1, 61; etc.

The word flumen means literally merely something that flows, and

in application was quite general.

KaOap6s, pure, clear, lucid. Jj.purus. k. (and its L. equivalent as applied

to style) is a metaphor taken from clean, white garments (Od. 6, 61 of elixara

and Verg. Aen. 12, 169, toga pura); and also perhaps more frequently, from

pure, clean water. Isoc. 5, 4, KaBapGis used of X<?|ts. In Arist. a synonym of

eWrivl^eiv = idiomatic. Common term later. In Dion. H. de Lys. 2, kuO. is

given as a striking characteristic of Lysias' diction. Vb. KaOapeijeiv ; noun,

Kaeap<iTi]s, purity. In Hermog. w. 18. chap. 3 (Spengel, Rhetores Graeci 2, p. 275)

it is an element of (ra(p-r)veia, lucidity. Opposed to Kadapdrrji in diction or style

is eoXov<r9ai, to be turbid, properly of troubled water ; Longin. 3, 1 : Cf.

Horace's famous disparaging comparison of Lucilius to a muddy stream.

{Serm. 1, 4, 11).

KaTa.<t>opiKbs and iiri(popiK6% seem to have their origin in the rush or down-pour of water, rain, etc. KaTa(|>opiKo$ \6yos = an invective. L. oratio vehemens.KaTa4>opd, Hermog. (Sp. 2, p. 249). Kara^opeiv, PI. Rep. 587 E, of pouringforth a stream of arguments.

diroKvfjiaTCtciv, lit. to swell with waves. Met. in Dion. H. de Comp. 23, p.

212, of a harsh arrangement of words. L. perturbare sonum. In the samechapter Stao-aXei/eiv is used in the same sense.

12

CLASSIFICATION AND DEFINITION 13

Stavy^s, translucent, transparent. L. pellucens. Dion. H. Ep. ad Pomp.

2, p. 758, of the language of Plato when he uses the plain style.

Kpovvos, lit. a spring. Of a torrent of words, Ar. Ran. 1005 ; cf. also Eq.

526 flf. and Cratinus (Fr. 186, Kock). Tra<j>\dt€iv, to boil, of the sea. Of a

speaker, to bluster. Freq. in Ar., e. g., Av. 1243 ; Pac. 314, of Cleon.

KaravrXtio-ai, lit. of pouring water over one; also, a medical term, of

fomentations. Met. to flood with words: Ar. Vesp. 483; PI. Rep. 344 D;Lys. 204 D ; Longin. 12, 5.

p€iv, lit. of water, to flow. Of language, Dion. H. Ep. ad Pomp. 6, p. 786,

rfS^ws Kal naXaKwi piovaa, of the diction of Theopompus. Phot. Bihl. 94,

X^lts piovaa. Kal na\aK-^. Ibid. 119 ; 141. Philostr. V. Soph. 1, p. 482. Cf. L.

flumen orationis. tvpovs, flotving well or easily. L. oratio pulchre fluens.

Dion. H. de Comp. 23, of X^fts.

V7p6s, lit. fluid, running, of liquids. Of style, smooth, fluid. L. fluidus.

Also with meaning soft, pliant, supple. L. mollis. Alcid. irepl (tocPkttQv 16

;

Dion. H. de Dem. 20, p. 1013, vypa. X^|is, o/iaXi}, koL wcr-irep eXaiov aApo<l>7)rl dia rrjs

dKorjs piov(ya. Cf. PI. Theoet. 144 B for the figure. Longin. 34, 3. Cic. de

Or. 2, 15.

vSapTJs, toatery, dilute, feeble, loeak. Met. in ^sch. Arist. Poetics 26,

v5. fivdos. Dion. H. de Dinarch. 11, vB. xapaKT^ip.

\tlv and its derivatives furnish a number of words designating speech

and style, from the idea of water continuously flowing. So L. fundere ; cf.

Nagelsbach Stil. p. 531. ksx^k^^vos, diffuse. L. fusus. Dion. H. de Isoc.

2; de Dinarch. 11, p. 660. dSidxwTos, concise, compact. L. astrictus.

Longin. 34, 3, of Demosth. iroXvxows, pouring forth tvords. L. copiosus.

Phot. Bibl. 35, et passim. x*^H-*7 stream, flow ; Longin. 13, 1. x^S^'^o^^y'*)

plebeian loquacity. x«^5ai6Ti7s, xi'Satos, Phot, passim, \vir\v, in floods. L.

oratio soluta. Isoc. 238 A and Ep. 9, 5. Arist. Rhet. 3, 9, 3, rd x- opp. to to.

nirpa. PI. Legg. 811 D in prose. \<>ti%, copiousness of speech ; Longin. 12, 4.

Kcpawvvai, to mix, blend, unite styles or elements of speech, etc. L.

miscere, temperare. Arist. Poetics, 22, 30 ; frequent in the Rhetoricians. Cf

.

also eijKpaToi, uKipaffTos and Kpciffis. Of almost identical meaning are luwYvvvai,

to mix or blend. Cf. Isoc. 13, 16, fxel^ai wpos aXX^JXas elements of discourse.

p,€iKT6s, blended, compounded. L. mixtus.

The origin of the terms, fieiyvvvai and Kepawvvai, their derivatives andcompounds in the rhetorical writers, is to be found according to Greilich

(p. 34) in painting— in the mixing of colors. This seems very doubtful. It

is true that the words are found in passages relative to the mixing of colors,

there being perhaps no other terms to use in such a connection. But the

verbs are of very general meaning and application and are used of mixingand blending things generally, especially liquids, as wine and water (so

Kipavvivai). There is little or no metaphorical force in the terms. If any wasfelt it would likely come, as has been said, from the idea of mixing liquids.

B. HEAT AND COLD

Metaphors derived from heat and cold are common in all

languages, particularly in literary criticism. Earnest and vehe-

14 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

ment speech is naturally thought of as heated by the fire of passion

;

as Tacitus says {Dial. 36): "It is with eloquence as with a

flame. It requires fuel to feed it, motion to excite it, and it

brightens as it burns." (Trans, by Wm. Pitt.) So Cicero {Brut.

24,93): "Vis et dolor" inflame the speaker, but when "ardor

animi" is absent, "omnis ilia vis et quasi flamma oratoris

exstinguitur."

TO Sidirvpov, heat, fire, passion. L. calor. Longin. 12, 3 of Demosthenes,

and in the same connection, lK({>\^-yearOai, to burn ivith passion. L. exardescere.

Cic. Or. 29, 102. So 6cp)i6s, hot. Of speech, fiery, vehement. L. calidus,

vehemens. Philostr. V. Soph. 1, p. 542 ; 2, p. 578.

Similarly we find the characteristics of literary coldness, or frigidity

designated by the terms, tA t)/vxpd, to \|fvxp6v, t|/vxP<5Ttis, frigidity, tasteless-

ness, tameness. Jj.frigus. y\iv\p6i, frigid, cold, vapid, tasteless. Li.frigidus.

See Arist. Rhet. 3, 3 and Longin. chap. 4, for the literary faults which cause

frigidity. The verb ^I'vx^v is found in Longin. 12, 3; 27, 1. The idea is found

early in the Comedians. Cf . Ar. Thesm. 848, of the frigid play, Palamedes;

Ach. 138, of the frost that followed the play of Theognis; Eupolis (Kock, 244)

ffKUfifia .... ff(f>6Spa \pvxp(>v. Isoc. 21 D ; PI. Euthyd. 284 E. For the dis-

tinction between ypvxpl>^ and Ka.Kb^r)\os, affected, see Demet. de El. 186.

C. LIGHT AND DARKNESS

It is altogether natural to consider a style which is clear and

lucid as illuminated by the daylight of perspicuity, while certain

literary faults as brachylogy, redundancy, frigidity cause a dark-

ness and gloom as of the night to obscure the sense. Greilich

(pp. 36, 37) classifies the words defined below, e. g., c^w?, a-KOTOf,

as borrowed from painting, i. e., the light and shade of a picture.

Now the metaphorical force in these terms is weak, but it is

more natural to suppose that their primary force, when conscious

in the mind of the speaker, had reference to the brightness of

day and the darkness of night. This is shown by Dionysius, whosays [ad Pomp. p. 759), "Certain faults obscure what is clear,

and ma,ke it like unto darkness.''^ So Jonson, Timber,^ p. 59,

"Many writers perplex their readers and hearers with mere non-

sense. Their writings need sunshine.''''

1 A number of very apt quotations from Jonson's Timber are cited in the followingpages, especially in Section II. These are often very close parallels, from the fact thatJonson drew freely from the ancient critics, translating, imitating, or commenting onpassages which struck his fancy. Quintilian is an especial favorite with him ; so also theelder Seneca, Aristotle's Poetics, and Plutarch, as well as the more usual classic writers.(Cf. Schelling ed. of Jonson's Timber, Ginn & Co.) For Jonson's manner of "looting classi-

cal treasuries " see Symonds, " Ben Jonson " in Engliih Worthies, pp. 52, 53.

CLASSIFICATION AND DEFINITION 15

«|)«s, of style, clearness, perspicuity, light. L. lux. Dion. H. de Thuc. 9,

p. 828 speaks of t6 t7;\ou7^s ^ws iKelvo Kal Kadapbv in narration. Philostr. V.

Soph. 1, p. 509, (xacprivelas <pQs iv t<^ Xoyqj. Quint. 2, 5, 7, narrandi lux.

Xaixirpos, bright, brilliant, shining, of sun, stars, water, white clothes, etc.

So of style, which is brilliant, splendid and conspicuous for any reason. L.

splendidus. Arist. Poetics 24, 23, ^ \lav Xafiirpa X^^ts, an over-brilliant or

ornamented diction. Ar. Av. 1388. Hermog. \a«7rp6s \670s. XajiirpoTus, bril-

liancy. L. genus dicendi splendidum. In Hermog. ir. ^5. chap. 9 (Sp. 2, p. 304),

Xa/u7rp6T77s materially assists in producing /i(^7e^os, grandeur, and a^lw/xa, dignity,

XcvKos, light, bright, white. Of style clear, transparent. L. candidus.

Phot. Bibl. 193 praises in Maximus rb XevKbv eidos \6yov, genus dicendi

candidum, i. e., clearness and purity. Suidas, s, v. ivdpyeia = XevKdrrjs Kal

<j>avbTy)s rQv Xbyoif.

£|i,<|>ao-is, a reflection in a smooth surface, then outward appearance.

Appearance, impression. Demet. de El. 47, 57. As a rhet. fig. emphasis lies

in a statement when it means more than it apparently conveys ; cf. Volk-

mann, p. 445.

|X£Xa(v€i,v, to obscure, blacken, obfuscate. L. orationis lucem obscurare.

Dion. H. ad Pomp. p. 759. So iiriu-KOTilv, Arist. Rhet. 3, 3, StaXuet rb o-a^^s t^j

iiriffKOTeTv. o-kot€iv6s, dark, obscure. L. obscurus, tenebricosus. Of style, opp.

to (Ta(f>-fi%. Demet. de El. 192. Dion. H. de Dem. 35, p. 1064, .^schines is said

to have blamed Demosth. for rb ffKOTeivbv. Phot. 138. Heraclitus was called

6 (TKOTeivbi because of the obscurity of his writings ; so Lycophron is called ater,

obscure, by Stat. Silv. 5, 3, 157, latebrasque Lycophronis atri. o-koti^siv, to

obscure, darken, confuse. Cf. Quint. 8, 2, 18, who says "that the literary

fault of obscurity is not new. In Titus Livius there is mentioned an instructor

who ordered his pupils to obscure {obscurare) their language, using the

Greek word ' o-Kirto-oj'.' " Jonson Timber p. 63, is doubtless imitating Quint.

4,2 et passim when he says: "Rectitudo lucem adfert ; obliquitas et cir-

cumductio oflfuscat. Obscuritas oflfundit tenebras."

D. WEIGHT, HEIGHT, AND LENGTH

In this section we shall consider a number of critical terms

which have their origin in the ideas of weight or size of material

objects; in height; and in position, length, or extension. Weighty

qualities in style which suggest solidity are generally commendable,

at least where gravity and dignity are desired. Greek style, how-

ever, whether poetry or prose is the medium, is characterized in

general by lightness and delicacy of touch rather than by the

weighty or the ponderous. As Symonds {Essays, Speculative

and Suggestive, p. 194) says, ^'Ponderosity is not the note of

Greek eloquence, yet two great poets, Pindar and ^schylus,

revealed the possibility of a massive Greek style." Excellence,

too, is usually associated with height or elevation. So Dionysius

16 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

[de Dem. 34) says that in Demosthenes, propriety, ro Trperrov,

touches the stars. On the contrary, to vtttiov in style, for

instance, is a defect, for the word has the idea of loss of height or

position, viz., prostration and supineness; so Eustathius [ad II.

p. 827) aptly speaks of setting upright a prostrate style.

Weight—pdpos, lit. weight, heaviness. Of language, gravity, dignity. L. gravitas.

Dion. H. de Dem. 34, p. 1061. So ^apin-ns esp. in Hermog. Cf. the term I(i,ppi0^s,

lit. weighty. L. gravis, rb ifiPpi64s, of style, weight, gravity, dignity. L.

gravitas. Dion. H. ad Amm. 2, p. 793 ; Longin. 9, 3, i/iPpideh ewoiai.

S-yKos, lit. bulk, mass, weight. Of style, dignity, pomp, impressiveness,

gravity. L. amplitude, tumor. The word is freely used in both compli-

mentary and unfavorable senses and the context must often be the guide as

to the intended meaning. For the favorable sense, cf. Isoc. 15, 47, iudv/nfiiMffiv

6yKud€<TT4poii. Arist. Rhet. 3, 6 = amplification, as opposed to ffwrofiLa, concise-

ness ; idem, Poetics 24, 5, of the massive heroic measure. Demet. de El. 36 in a

favorable sense (where 6yKos and pAytdos are joined); see also 54,66,77,83.

Longin. 8, 3 joins rhv 6yKov Kal rb vyp-rjkbv, dignity and elevation. Id. 15, 1.

Hermog. w. IS (Sp. 2, p. 286) joins 6yKoi', fidyeOos and d^lup.a. Phot. Bibl. 71. Theterm 6yKos often has an unfavorable sense, however. Volkmann (p. 557) is

clearly wrong when he says, "Das Wort 6yKos bezeichnet bei den Rhetorenkeineswege, wie unser Schwulst, etwas schlechtes, sondern das os magnum,die sublimitas." For the meaning, pomp, magniloquence, inflation (causing

frigidity), tumidity, bombast (L. tumor) cf. Longin. 3, 4 ; swellings (6yKoi) bothof body and diction are evils. Cf. 30, 2. Demet. de El. 114, 119, 120, 247. Cf

.

adjectives, byKtipbs, dyKiidrjs, viripoyKos, and the verbs dyKoOv and dioyKovv. It is

convenient to insert here several words, compounds of IVttos which contain, in

general, the idea of size and bulk, which cause bombast : lirir6\o4>oi {\6yoi), At.

Ran. 818 ; lirirbKpTjiJ.va (p-fip-ara), ibid. 929 ; IvTo^dpav (p^pui), ibid. 821 ; linroTvcpla,

excessive ornamentation of unimportant subject-matter. Lucian and Diog. L,

Height—8iT)p|iivos, lofty, elevated. L. grandis, sublimis. Hermog. n. 18. (Sp. 2,

p. 415).

v^\6s, lofty, elevated (akin to peyaXoirpeTn^s). L. sublimis, magnificus,

grandis (Quint. 10, 1, 65). Frequent in Dion. H. and Longin. wI»os, elevation,

sublimity, loftiness, dignity, grandeur, eloquence. L. sublimitas. Longin. 1,

3

defines it as dKp6rr}s Kal i^oxv tls \6y(i}v. A definition suggested is, " anything

which raises composition above the usual level, or infuses into it uncommonstrength, beauty, or vivacity." (Cf. Roberts.) The term goes back to Caecilius

at least ; see Longin. 1, 1.

licT^upos, lit. raised above ground, high in air. Of style, inflated, bom-

bastic, tumid. L. tumidus. Longin. 3, 2 gives examples from Gorgias. Dion.

H. de Isaeo 19 of Isoc. in a good sense.

cvK6pv()>os, lit. with beautiful top. Of periods, ending well, having a suit-

able and rhythmical structure. Dion. H. de Dem. 43 (p. 1093) opp. to ijirrtai.

CLASSIFICATION AND DEFINITION 17

pdOos, depth or height. In Longin. 2, 1 the profound, a synonym of Ci/zoj,

the lofty. In English Rhetoric, bathos, of course, always has an unfavorable

significance, anticlimax; cf. Martinus Scriblerus, irepl pddovs: Or of the Art

of Sinking in Poetry (Elwin and Courthope's edition of Pope's Works, X,

pp. 344-409).

Position, Length, Extension—viTTios, lit. fallen on the back, prostrate, supine. Of language or style,

languid, spiritless, slow, flat, tedious, nerveless. L. supinus. Quint. 10, 2, 17.

rb ijirriov, negligence, carelessness. L. tarditas, languor, absence of force or

energy. So vTrri6TT]i. Verb, wirTid5«iv, to be negligent or careless. Phot. Bibl.

79. Philostr. V. Soph. p. 495. Frequent term in Dion. H. as a fault of

style. Cf. de Isoc. 2, vTrna X^|is, de Dem. 18. Hermog. ir. IS. 2 (Sp. p. 412),

"Isoc. has no yopydrrjs, but rather r6 ijirnov."

Xa|xanr€T'^s, lotv, mean, vulgar, groveling. L. humilis. Lucian, Hist.

Conscr. 16. Phot. Bibl. 97; 180. Horace's serpit humi, A. P. 28 and sermones

repentes per humum, Ep. 2, 1, 251, may be compared.

<rxoi.voT€vi^s, lit. stretched out, like a rope or measuring line. Of style,

stretched out, long, prolix; cf. Eng. term wire-drawn, of spun-out style.

Pind. Fr. 47, (rxoivoriveia a.oi.M. Hermog. w. evp. Sp. 2, p. 244 ; Anon. tt. crx- Sp. 3,

p. 113; Phot. Bibl. 192; 164; 177.

op06s, straight, direct. L. rectus. Opp. term is d-yKvXos, lit. crooked,

curved ; met. of style, involved, intricate. L. contortus, intricatus.

d<{>€\^s, lit. even, smooth. Of plains, Ar. Eq. 527 ; of language, simple, not

involved. Arist. Rhet. 3, 9 ; see Cope's note. Of style, plain, simple. Dion.

H. ad Pomp. 2, p. 758, rb d(f>e\h and dcpiXeia, plain, simple style. L. simplicitas.

Cf. Quint. 11, 1. Lysias is the great exemplar of rb a.(l>e\h, •^ \4^ts o0e\ijs, also

designated i) XittJ in Dion, H. de ZJem. 2, is Cicero's genus tenue (Orator). Thediffuse style of the speech On Concord (of the Sophist Antiphon) is like to asmooth plain, vapairX-fia-ia tQv TredLuv rots XeLois. (Philostr. V. Soph. p. 500.)

E. FLOWERS

Greek literature abounds in metaphors derived from j&owers

and their blossoming. Literary criticism, too, from Isocrates

down, frequently designates a figurative, elaborate, or embellished

style as flowery. When not carried to excess, such a style is

commended by the critics. As Jonson Timber p. 61, says,

"Some words are to be culled out for ornament and color, as we

gather flowers to strew houses, or make garlands."

dvOC^civ, lit. to strew or deck with flowers. Met. to use a floioery or florid

style. This is expressed in Latin by a met. term of different origin, depingere.

Dion. H. de Lys. 13, p. 481, speaks of the x*P's of Lysias, avdl^ovaa. tt)v \4^iv

avTov. Idem, de Isoc. 13. So iiravei^eiv, Philostr. 500. Cf. iiravdeTv, Dion. H. de

Dem. 13, p. 992 ; Longin. chap. 30. dvOi^pos, floioery, florid. L. floridus

(floribus laetus. Quint. 8, 3, 88). Isoc. 294 E, avB-qpbTepov X^7e(j'. Dion. H. de

18 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

Dem. 18, p. 1007 ; idem, de Comp. 21. The y\a<l>vpa fj dvOripa apfMvia, the smooth

or florid, is one of his three styles or modes of composition ; characterized in

L. by various terms, lene, nitidum, suave, compositum, medium. avOos, flower.

L. flos. Dion. H. Ep. ad Pomp. 2, p. 759 ; Longin. 10, 4 ; Anon, in Sp. Rh. Gr.

1, p. 323. For flowers {flores, flosculi) of Rhet., cf. Cic. Sest.56, 119; Quint. 2,

5, 22 ; 10, 5, 23 ; 12, 10, 73 ; Gell. 17, 2, 1. In this category we may discuss the

word «iri(|>w\XC8€s used by Ar. Ran. 92 of petty poetasters. L. and S. follow

the scholiast, "Small grapes left for gleaners;" so Ern. "racemi post vin-

demiam collecti." Pritzsche perhaps better takes the word to mean, "vines

of rank leafage," i. e., abundance of leaves but little fruit. Cf. Pope, Es. on

Crit. 308-9

:

"Words are like leaves; and where they most abound.

Much fruit of sense beneath is rarely found."

So Quint. 8, Proem. 23 : "Too many niceties obscure the sense and choke the

crop, as it were, with a superabundance of herbage— sensus obumbrant et

velut laeto gramine sata strangulant."

2. The Human Body: its Condition, Appearance, Dress,

Care, Etc.

One of the most fruitful sources from which the ancient rheto-

ricians derived critical terms, figurative illustrations of style and

rhetorical characteristics is the human body, its appearance and

condition, and its constituent parts. The Ps. Plut, 'rrepl iraiS.

aycoy. 7 says: "Just as the body should be sound and in a

healthy condition, so \0709 likewise must be not only free from

disease, dvoa-ot, but robust, evpcoa-Tay So the necessity of health

and sanity, bona valetudo, sanitas, saluhritas, integritas, in dis-

course is constantly emphasized in the Roman literary critics.

Cf. Quint. 2, 4, 9; 10, 1, 44; 12, 10, 15. Cic. Brut. 82, 284;

80, 278; 13, 51; de Opt. Gen. Or. 8; 11 and 12. Tac. Dial. 25,

26. Tacitus [Dial. 21) gives a very striking comparison between

oratio and corpus hominis. "Oratio autem sicut corpus hominis

ea demum pulchra est in qua non eminent venae nee ossa nume-

rantur, sed temperatus ac bonus sanguis implet membra et exsurgit

toris ipsosque nervos rubor tegit et decor commendat." This

may be the source of Jonson Timber p. 66: "Where juice

wanteth, the language is thin, flagging, poor, starved, scarce

covering the bone, jejuna, macilenta, strigosa and shews like

stones in a sack." A forcible comparison is given by Pliny

{JEp. 5, 8) : "The bare bones, muscles and sinews, ossa, musculi,

nervi, suit history; oratory needs swelling brawn and flowing

CLASSIFICATION AND DEFINITION 19

hair, tori quidam et quasi iubae.'''' Demet. [de El, 2) compares

sentence-structure to the arm and its parts.

As in the physical constitution there is a striking difference

between slender and robust persons, so, by analogy, in types of

style the rhetoricians opposed the plain, spare, and meager to the

full, ample, and forcible. The metaphor in the following two

terms is undoubtedly that of bodily condition.

lo^vos, lit. dry, withered, esp. of persons, lean, spare, meager. As one of

the three types of style, a8p6v, i^xviv, /x^a-ov. Plain, simple, unadorned, spare.

L. tenuis (Cic. de Or. 3, 52, 199), subtilis (Quint. 12, 10, 58), gracilis (Aul.

Gel. 6, 14). Lysias was the typical example of the tVx- xa/oafTiJp. Cf. Dion. H.

de Dem. chap. 11. Demet. de El. 36, 183, 190 et passim. Dion. H. Ep. ad Pomp.

2, p. 758 (et passim). 1<txv6ttijs is the noun. Perhaps the statement of Jonson

Timber p. 66 may be taken to describe the l^xvbs x- "There be some styles

again that have not less blood, but less flesh and corpulence. These are bonyand sinewy, ossea et nervosa; ossa habent, et nerves."

aSpos, lit. thick, stout; of persons, large, strong. Of style, sometimes

opposed to the ta-xv^s x'>-P<'-'^t"^Pi strong, forcible expression. L. uber andamplus. (Quint, 10, 1, 44; 12, 10, 58, grande atque robustum, quod a,5pbv

vocant.) Uber, grande, amplum, elatum, concitatum. Dion. H. de Comp.4 (Sch. p. 62), adpa vo-n/xaTa. Longin. 40, 4 ; Aul. Gel. 6, 14 ; Eustath. ad Horn.

II. p. 406, 30. The Roman rhetoricians frequently use the words sanguis andsucus to describe fullness, richness, tcarmth, robustness of style. Forsanguis, cf. Cic. Brut. 36, "sucus ille et sanguis incorruptus" (of Attic orat.);

ibid. 68, 283. Quint. 8, 3, 6 ; 10, 1, 60 ; 10, 1, 115 ; 10, 2, 12 ; 11, 1, 34. Sucuslit. vital juice, sap of life. Met.: Or. 23, 76; de Or. 2, 88; ibid. 93; 3, 96.

Brut. 36. Quint. 1, Proem. 24 ; 10, 1, 31. Cf . also Quintilian's striking phrase

(10, 1, 32) Livi lactea ubertas, the milky richness of Livy.

aPp6TT)s, in its earliest use refers to beauty, grace, and delicacy of per-

sonal appearance. As a term of style it is rather late. Sweetness and charm.L. dulcedo, amoenitas, suavitas. In Hermogenes (Sp. 2, p. 368), aPp&rrjs,

yXvK&rri^, rjdovr) and Cl)pa, are almost synonymous terms, and are produced bythe same means. Menander, Philostr., Eustath. Cf. Tpv«t>cp6s, delicate, dainty,

elegant, effeminate. L. elegans, nitidus. Dion. H. de Comp. chap. 22.

dK|xi^, most frequently of the prime of life, of greatest strength and vigor.

Of style, vigor. L. vigor orationis, vis. In Hermog. v. 18. 1, chap. 10 (Sp. 2,

p. 308) dK/ti7 arises from \afnrp6Tr]s and rpax^rrji. 'AKfiaToi \&yos is a robust,

sinewy eloquence which pushes an adversary hard. (Jebb. 2, p. 299).

yovijios, lit. productive, generative, fruitful. L. fecundus. Ar. Ran. 96,

ydvifiov 8i iroiriTTjv liu ovx eijpois en ^tjtQv, i. e, a genuine poet of highest originality,

Longin. 31, dpeirriKibTaTov Kal ybvifiov. Menander (Walz 9, p. 154). rd ySvi/nov,

fecundity, native ability in a writer. L. fecunditas, ingenium. Philostr,

V. Soph. 2, p. 582 ; Phot. Bibl. 6. Of the opposite meaning is a-yovos, barren,

unproductive, sterile. Plut. 2, 348 B, &yovo% ttoititt/js.

€|i,\)/vxos, living, keen, animated. L. sanguinis plenus, vivus, animatus.Longin. 34, 4. Luc. Dem. 14, ipL. \6yos. So Hermog. Opposite term is Axpvxof.

20 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

TO €|i\|/vxov, liveliness, vigor, animation in an orator, Dion. H. de Isoc. 13, p. 560.

So terxvs, originally strength of body. Of style, strength, force, Dion. H. ad

Pomp. 3, p. 776.

KoXXos, beauty of persons, esp. of women. Of style, beauty. L. pulchri-

tudo. From Arist. down. Longin 5 ; Demet. de El. 106, 166 et passim. So

€V[i.op(t>(a, elegance, beauty ofform. Dion. H. de Dem. chap. 32.

|xvKT^p, lit. the nose ; from the use of the nose to express ridicule (cf

.

iMVKTTjpll^eiv), raillery, sarcasm. Longin. 34, 2 fi. possessed by Hypereides.

Quint. 8, 6, 59. So nasus in Lat., Mart. 1, 42, 18. From the features also is,

6<{>pvs, lit. brow. L. supercilium. Of style or diction, exaggeration. Ar.

Ban. 925, prmara 6<f>pvs €XOVTa. Philostr.

|x€-ye8os, in Homer always of stature, size of persons. Of style, grandeur,

elevation. L. magnitudo, sublimitas. Demet., Longin., Hermog. tt. Id. 1, chap. 5

(Sp. p. 286). Phot. j«,i.Kp6TT]s, littleness, meanness, L. parvitas, exilitas, is

the opposite term.

pw|iT), bodily strength. Of a writer, force. Of Thuc. in Dion. H. 'Apx-

Kp. p. 425 (R.). L. vis. (Quint. 10, 1, 73, of Thuc.) Cf. aXK^fj, Dion. H. de Thuc.

23 ad fin. So <rTt.pap6s, virile, robust, synonymous with austere. L. robustus.

<T. X^^s, de Thuc. 24 ; de Comp. 22.

rdxos, swiftness of foot of animals and men. Rapid movement, rapidity

of language. L. celeritas. Arist. down.

t6vos, intensity, energy. L. vis, robur, nervi orationis. Dion. H. de Thuc.

chap. 53 ; de Isoc. 13. Longin. 9, 13, and 34. So evrovCa, Dion. H. 'Apx. Kp.

2, 3. cLtovos, languid.

wpa, freshness, vigor and beauty of youth. Of style,freshness and beauty.

Dion. H. ad Pomp. 2, 4,

For these positive qualities of style, cf. L. nervus, vis, vires, vigor, nervi,

lacerti, ossa, robur. Similar English terms are : Animated, full-blooded,

full-bodied, hearty, lively, lusty, muscular, nervous, robust, sinewy, strenuous,

supple, vigor.

Weaknesses and faults of style are aptly designated by striking

terms properly applied to impaired bodily condition. Cf. the

English terms, cold-blooded, emasculate, exhausted, feeble, flaccid,

invertebrate, languid, lax, loose-jointed, meager, nerveless, weak.

avxp.T)p6s, lit. dry, dirty, squalid. t6 ouxmw^" and 6 avxp-ds refer to a dry,

meager, spare, jejune style. L. squalor, siccitas. Used esp. by Dion. H., cf.

'Apx. Kp. p. 431, of Lysias, t6 aixp^vp^" iKire<pevyi!)i ; de Dem. chap. 44 ; de Thuc. 51.

A synonym is pvirapos, dirty, sordid. Longin. 43. 5.

pXaKwStjs, lit. lazy, indolent, rb /3Xa(ctS5es, Phot. Bibl. 94, of the slack,

languid character of the diction of lamblichus. Similarly (loXaKos of habit of

life, soft, languid, pleasant, lazy. L. mollis. Isoc. 5, 149 asks pardon if his

discourse be naXaKwrepov, somewhat languid, feeble. So 12, 4. Arist. Rhet.

and Dion. H. So also iiakdaKbs.

at];vxos, lifeless, lacking in spirit. L. inanimus, exsanguis. Dion. H. de

Dem. p. 1012, A\}/vxos SidXe/cros. So dir6x|>vxo. Longin. 42, cf. t€9vtjk6s, dead,

lifeless. L. vita carens. Eunap. Vit. Liban. p. 98 (170), 6 5^ X670S avri^ ....iravreXuij dffdevi]^ Kal redvriKus koI Slttvovs.

CLASSIFICATION AND DEFINITION 21

virowoTTdJciv, L. dormitare. A writer who occasionally lapses from his

usual excellence is sometimes conceived as nodding or napping. The best

known passage is Horace's criticism of Homer, A. P. 359 : "Et idem indignor

quandoque bonus dormitat Homerus." Pope, however {Essay on Criticism),

tells us, "Nor is it Homer nods, but we that dream." Cicero claims that

Demosthenes occasionally " snoozes ;

" cf. Plut. Cic. 24. So Quint. 10, 1, 24

:

"Ciceroni dormitare interim Demosthenes, Horatio vero etiam Homerus ipse

videatur." So 12, 1, 22. See Longin. (33, 4) on this topic.

KaTao-KcX€T€v€iv, lit. to reduce to a skeleton. Pass, to he robbed of flesh

and blood. Isoc. 15, 268. Longin. 2, 1 :" Works of nature are made worse

and feebler, when wizened by the rules of art." (Rob.) Korao-KeXifs, Dion. H. deIsoc. chap. 2. So Quint. Proem. 24 and Taine, of Tillotson : "What a style!

It is a skeleton with all its joints coarsely displayed."

8a<rvTns, lit. shaggy, covered with hair. In Gram, roughness, aspiration.

L. asperitas. Arist. down. Adj. 5a<ri/j. Opp. is \|/iX6Ttjs and t|/iX6s, lit. bald.

Smoothness. L. lenitas, lenis. In Gram, of smooth breathing. fiXbs X670?,

bare, unadorned prose, as opposed to poetry, clothed in meter, Arist. Rhet. 3,

2, 3. PI. Menex. 239 C.

egaa-6cv€iv, of physical weakness. Of composition, to fail in strength or

vigor. L. deficere, adj. enervatus. Demet. de El. 50 ; ibid, rb iffdevh. Diod.

20, 78.

iroxws, of large, stout bodies, of fat persons, opp. to iffxv6s. Arist. Politiea,

3, 2, 1, irax^ws opl^eadan, to define roughly. Dion. H. Ep. ad Pomp. 2, p. 759,

coarse, heavy, of Plato's language when he uses unusual phraseology andembellishments. Dion. H. de Isaeo 19. t6 iraxi tends to frigidity. Hermog.and Rhetors. Cic. Or. 8, 25; "opimum quoddam et tamquam adipatae dic-

tionis genus." So Aul. Gel. 17, 10, opima and pinguis. Cic. Arch. 10, 26. Cf.

Jonson Timber p. 65 :" We say it is a fleshy style, carnosa, when there is

much periphrasis and circuit of words ; and when with more than enough it

grows fat and corpulent, adipata, redundans; arvina orationis, full of suet

and tallow."

KoXo^os, lit. docked, curtailed, mutilated. L. curtus, mutilatus. Arist.

Rhet. 3, 8, of periods.

Kw«|>6s, lit. dumb, mute. L. mutus. Demet. de El. 68, a-OvOea-ti kw^^, of acomposition lacking in euphony.

gTip6s, lit. dry. Of bodily condition, Eur. EL 239. Arid. (Rob. suggestsdry, bloodless, sapless, lifeless, bald, jejune.) L. aridus, siccus, ieiunus,

exsanguis. Isoc. Tech. Fr. 6. Demet. passim. ^17/36x775, Longin. 3, 3.

X»X6s, lit. lame in feet, halting. L. claudus. Demet. de El. 301, "Hip-ponax, wishing to abuse his enemies, shattered his verse and made it limp,eirol-qaev xwXd;/." Cf. x^XIa/i/Sos, L. choUambus, scazon. Demet. 18. Cf. Ascham3, p. 251 :

" Carmen hexametrum doth rather trot and hobble than runsmoothly in our English tongue." English is rich in terms taken fromimpeded bodily progression to denote defects in the movement of languageor verse. E. g., club-footed, creeping, dragging, floundering, halting, hob-bling, lame, limping, lumbering, jog-trot, rambling, shuffling. For opposites,

cf. leaping, nimble, skipping, sprightly, vaulting.

22 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

Dress, Toilet, etc.—The literary critics and rhetoricians often

regard style as a person who is decked out in seemly or unseemly

garb, or who has made use of all the resources of the toilet-table.

The investiture of words should be a becoming one, however, and

not effeminate and luxurious, as Quintilian warns us in 8, Proem.

20. So, also, Dion. H. de Dem. 18, p. 1008: "Just as there is a

becoming raiment for the person so there is an appropriate

expression for thoughts."

Kotritos, ornament, embellisliment, dress. L. mundus, ornatus, is often

applied to the ornaments of speech. See Causeret, p. 172. Isoc. 9, 9 says

:

"To the poets there are given iroWol Kda/wi and these may be ^^voi, Kaivol, nera-

<popal or any other embellishments." Kdcr/ios is almost a technical term in Arist.,

cf. Poetics 21, 2 ; 22, 3, and 22, 10, " Kbufw^ is appropriate to prose as well as

verse." Rhet. 3, 7, " KixT/xos is not to be added to a mean word as Cleophon

does ; e. g., irlnvia ffVKTj." Verb Koo-jiciv in Arist. Rhet. .3, 2, X^^ts KeKoff/xrifjiivr] is

opposed to X. Taireiv^. Cf. Isoc. 5, 27 ; 9, 5 ; 9, 9 ; 9, 76 ; Ep. 9, 5. Ar. Ran.

1027, Koff/jLT^ffas fpyov ipiarov, i. e., .<Esch. Pers. PI. Apol. 1. Demet. de El. 106

et passim. tiriKoo-jjittv, to adorn, embellish. L. ornare. Demet. de El. 106.

Ko^\)r6s, lit. well-groomed, or dressed. Neat, elegant, superfine. L. comp-

tus. Cf. Norden, 1, p. 69, "/f. zierlich dann uberhaupt geistreich stammt aus

der alten Sophistenzeit." Kopciphs = L. bellus. Cf. Dion. H, de Dem. 40 ; Ep.

ad Pomp. p. 759 ; de Isoc. 12. Ar. Eq. 18, Kofi\pevpLWLKQ>%, refined Euripidean.

KO|it|/<vco-9ai, to adorn language in a charming manner, to embellish. L.

nitida, comptaque oratione uti. Dion. H. de Isoc. 14, p. 564. KO|ii|/«(a,

daintiness, elegance. L. elegantia. PI. Phaedo, 101 C ; Demet. de El. 36.

aK6|j.\|/€VTos, unadorned, not refined. L. incomptus, unkempt, in disarray.

Cic. de Or. 1, 234 ; ad Att. 2, 1, 1 ; Quint. 8, 6, 41 ; Hor. A.P. 446. Cf. Cic. Or.

23, 78, Oratio compared to a mulier inornata. Dion. H. de Comp. 22. ko)i\|/6-

THs, elegance of language. Isoc. 12, 1 ; 15, 195. (jiikp6ko)j.\|/ov, tricked out with

small ornaments, finical. L. bellulum. Cf. Dion. H. de Comp.TO cv^wvov, lit. well-girdled, is a term taken from dress. Of style, graceful

slenderness. Hermog. tt. 15. (Sp. 2, pp. 286 and 290). In this style, fi^eOos is

lacking, hence it may be almost synonymous with rb e^eX^s.

jxvpoO^Kiov. Cic. says (ad Att. 2, 1, 1) that he lavished on a Greek version

of the story of his consulship totum Isocrati /xvpod^Kwu, atque omnes eius dis-

cipulorum arculas, all the fragrant essences of Isoc. and all the littleper/wme-

boxes of his pupils.

KaXXuTTitco-Oai, lit. to make the face beautiful. Of language, to elaborate,

to polish and adorn. Dion. H. de Dem. 18, p. 1008, dia rwv OearpiKuv trxv/J-'^-

Tuv KaXKuiri^iLv t6v \6yov. Hermog. KaXXwirCo-ftara, ador'nments. L. mundusorationis. Dion. H. de Thuc. 46, p. 928.

ircpiPoXTJ and irepipdXXeiv are metaphorical terms derived from dress. In

Isoc. 5, 16 ij IT. Tov \6yov, " the compass of the matter," the sense is perhaps

rather from irepipdWeiv, to inclose, but in Philostr. V. Soph. (511) irepi^oXi^ is

equivalent to L. amictus, dress, rb . . . . diKaviKov <ro<pi(rTiKy irepi^oX^ iKbcrix-qcrev,

In Hermog. tt. t'5. 1, chap. 11, ir. — amplification.

CLASSIFICATION AND DEFINITION 23

koXitc&Stis, diffuse. L. sinuosus. Of discourse, Dion. H. de Dem. 18, p.

1007. The metaphor is probably from puffed out and flowing vesture, as is

seen from chap. 19, ravra KeKoXirufjL^va fffply^ai /xdWov ivvv, " the drooping folds

might have been pinned up more neatly." (Jebb.)

Po(rTpvxtS«iv and KxeviSeiv are two interesting terms found in Dion. H. de

Comp. 25, 6 5^ nXdrwv roi/s iavrov Sid\6yovs KrevL^wv Kal /Soorpux^fwi', Plato, comb-ing and curling his dialogues. /3., lit. to curl or dress the hair, hence of lan-

guage, to adorn, elaborate. KTevtJtiv, to comb, to devote an excess of care andattention to composition. Cf . Cic. Or. 23, 78, calamistri, lit. curling-irons, i. e.,

rhetorical adornment. Also Brut. 262 ; Tac. Dial. 26. Cincinni, de Or. 3, 25,

100. Quint. 8, Proem. 22, protests against eloquence employing the manicureand hairdresser.

A few words of miscellaneous origin applied to literary embellishments

are kuSuv, lit. a bell on the trappings of a horse ; of style, excessive ornamenta-tion, jingling. L. tintinnabula. So Tac. Dial. 26, tinnitus, jingling style.

See Longin. 23, 4. Cf. KporoXov, castanet, of a talkative fellow, Ar. Nub. 259.

Ibid. 448. puiriKos, pwiros, petty wares, rd pc^iriKdv, Longin. 3, 4 is, in style, the

tawdi-y, cheap gloss, trumpery ornamentation. Cf. also Plut. and Polybius.

The following English terms designate over-adornment or embellishment;

gaudy, painted, tawdry, tinsel, finery, over-jeweled, high-colored, brocaded,

embroidered, gloss, jingle. This style is well described by Pope, Essay onCriticism, 293

:

"Poets, like painters, thus, unskilled to trace

The naked nature, and the living grace,

With gold and jewels cover evr'y part.

And hide with ornaments their want of art."

3. Athletics, War, and the Sea

Athletics.—When we consider the importance and prominence

of athletics and war in the training and life of the Greeks, weshould not be surprised to find even more terms than we do from

this source, as the orator is frequently compared to a fighter or

wrestler.

dOXiiT'^s, L. athleta. Lit. a combatant, fighter, and then one who is well-

versed, practiced, or master of a subject, e. g., rhetoric. Dion. H. de Isoc. 11,

TTjs KaTaffKfvijs ad\r)Trjv i(xxvp6Tepoi', as a master of elaboration Isoc. is superior

to Lysias. Id. de Dem. 18, deXrjrai rrjs dXriOivrjs X^lews.

d-ywvKTT^s, a fighter, combatant in political and judicial contests. Isoc.

13, 15 ; PI. Phaedr. 269 D, dywvLffrijs rfKeos. Dion. H. ad Amm. 1, 2, dyuvia-Tai

\6yuv priTopiKQv. Id. de Isaeo 20, says of Antiphon, dywyicrr^s 8i \6yo)v oire

ffvfjL^ovXevTiKQv oire 5iKa.vi.KQiv iffTt. d-yuv, contest in assembly or law-court andthe speech delivered in these places. L. certamen, contentio. Dion. H. adAmm. 1, 2 (p. 721) of Demosth. orations, et passim. ayiaviirTUK-ri (X^^tj) is the

controversial style used by speakers in political and judicial contests. L.genus dicendi contentiosum, opposed to the ypa<piKT] X^|ij in Arist. Rhet. 3, 12, 1.

24 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

cva-yc&vios (Xiyos), a speech in a contest of a controversial character. L. eon-

tentionibus upturn dicendi genus. Dion. H. de Isaeo 20 ; de Thuc. 23 ; de

Dem. 18. On rb ivayuviov, the art of grappling, see Jebb. 2, p. 305. d-yuv(t«''Oai,

Alcid. irepl ffo^icrruiv 25, toTs fiera tuv ypairruv dyuvi^onivois Xdyuv.

irpo-yw|i,vd<r|i,aTa, lit. preparations for war (Ath. 631 A); in Rhetoric, pre-

liminary exercises for training youths. L. exercitationes. Hermogenes was

one of the numerous writers of irpoyvfivdfffiara.

Wrestling gives us the following terms : •jraXaio-rpa, lit. a wrestling

school. Met. of the School of Socrates, Longin. 4, 4. So the L. ludus, a

training-school for children and gladiators, was used of orators ; cf . Cic. de

Or. 2, 94 of the school of Isocrates. irdXai«r|ia, a bout at wrestling. Ar. Ran.

878, iraXalfffjiaTa = lists, of the poetical contest between .^schylus and Eurip-

ides. Ibid. 689, TT. = tricks, it. SiKaa-rriplov, trick of the court-room, .^schin.

83, 16, legal contest, = contentio. Hermog. ir. fieO. deiv. t6 tvirdXawrTpov,

Longin. 34, 2, of Hypereides, skill in contests of irony. XaP^ and a^-fi, a grip

or hold, of pugilists and wrestlers, grasp, hence oratorical poiver and strength.

Dion. H. de Dem. 18. Xa/37j, ibid. 20. o^i}, de Lys. 13. irpoc^a-yKwvtStiv, of

boxers, to move the arms before fighting. Of beginning a speech with aprocemium, Arist. Rhet. 3, 14. Xvyi<r|io( and <rTpo<|)a£, twistings and turn-

ings of wrestlers to avoid a blow or hold. Of Euripides' sophistical devices,

Ar. Ran. 775.

€vo-Toxos, hitting the mark, aiming well, is from archery or javelin-throw-

ing. Of Hypereides, Dion. H. 'Apx- Kp. 5, 6. In Diog. L. 6, 74, ready at repartee,

of Diogenes Cyn. So €v8iktos. fij9. irpooifua, Hermog. w. evp, 1, 2.

6T)pav, to hunt, pursue, aim for, is a term from hunting. L. venari. Ar.

Nub. 358, d-qpara \6yuv <pt\ofwii<ruv, Dion. H. de Dem, 40, ri)v ev^wviav Otjpwfi^T].

Ath. 3, 122 C. Cicero is fond of the term aucupor, lit. to snare or trap birds.

Cf. Or. 19, 63; de Or. 2, 30, of Rhetoric.

irtptiraTos, lit. a walking-about. The beginning of its metaphorical use as

a rhetorical term, meaning a discourse during a walk, then simply argumenta-

tion or disquisition, L. disputatio, is seen in Ar. Ran. 953 : tovto p^v tacrov, «5

Tciv • oil (Tol ydp ^<rTt irepliraros KdWiffra irepi ye Toiiroii. tt. ^ Siarpi^T^ according to

the Scholiast. Both the primary and transferred meanings are seen in the

use of the word in Ran. 942. Later oi iK rod irepindTov is the designation of the

Peripatetics, school of Aristotle. Heplvarov iroiernr^ai "KSyutv, Introd. to 2 Mac-

cabees (B, II, 30). Cf. Philologus, Band LXIII, Heft I, p. 7, Radermacher.

Verb irepiiraTciv, lit. to walk up and down, then to walk about while teaching.

PI. Ep. 348 C ; Diog. L. 7, 109 ; then simply, to discourse.

War—Karoo-TpaTH'Yeiv, of an orator, Dion. H. de Isaeo 3, k. roi)s diKacrrdf. Kara-

Tp^Xciv, lit. to run down, to ravage, lay waste. Of a speaker, PI. Legg. 806 C.

Cf. ^B-iTp^x"") i'Ttrpoxd^eiv, iiriTp6x(i^os, ivi.TpoxdSt]v, which have the meaning,

to run lightly over, to touch lightly on a subject, to treat cursorily. L.

negligenter narrare. KaraSpoji,^, an invasion, inroad, is an oratorical assault,

an invective. L. impetus, vehementia. .^Eschin. 1, 135 ; PI. Rep. 472 A ; Dion.

H., etc. So KaradeTv, PI, Theoet. 171 C. ^HtpoXYj, assault, attack, of an orator,

Longin. 20, 3.

CLASSIFICATION AND DEFINITION 25

cK8po|xirj, a sally, charge. In speaking, a digression. L. digressio. Cf.

also TrapeKdpofJLri, ^k/3oXtJ.

tvo-ToXTJs, of armies, well-equipped. Also of dress. Demet. de El. 14, of

the old method in writing, clean-cut. L. succinetus.

T<i|is, lit. the order or disposition of troops or an army. In Rhet. i) rod

\6yov rdftj, as opposed to its matter, order. L. ordo, dispositio orationis ; die

oratorische Taktik (Em.). Alcid. Trepl a-o4>L<7Twv, 33. Isoc. Arist. Rhet. 3, 12.

Longin. 20, 3 ; ^schin. 3, 205 ; Dem. 226, 11. dra^la olKovofxlai, Dion. H. 'Apx.

Kp. 3, 2. Quint. 2, 13 (3, 4 and 5) gives an elaborate comparison between the

disposition of an army and that of discourse and the analogous duties of

general and orator.

irtjos, lit. on foot, as opposed to a horseman. Met. of language, in prose,

prosaic, pedestrian. L. oratio pedestris. PI. Soph. 237 A, 7ref5 "^^ <55e eKdffTore

\^ywv Kal fiera pL^Tpcov. Luc. Hist. Conser. 8, iref?) tis ttoitjtiki;, of bombastic his-

tory. Demet. de El. 90, 93, 167; Dion. H. ad Amm. 2, 2. Quint. 10, 1, 81. Cf.

Hor. Sat. 2, 6, 17, where Palmer says :" the metaphor is from a person soberly

jogging along on foot contrasted with the dashing pace of a mounted cavalier."

The truth of this is shown by some examples given by Norden (1, p. 33): In

Lucian (Demosth. Eneom. 5) Dem. champion says to the defender of Homer

:

" It is clear that you are considering poetry only, and despise rhetorical dis-

courses precisely as the knight riding with infantry." So Aristides, Or. 8

(Vol.1, p. 84, Dind.): "It is more natural for a man to use prose, TrefiJ; \by<^,

just as to walk, I think, is more natural than to ride."

Tjv£a, reins, L. habenae orationis. PI. Protag. 338 A, xa^t^""*" t^s iivias rots

X(i7ots. Philostr. V. Soph. 2, p. 570, gives an interesting figure : "Alexander's

fingers were long and well suited to handle the reins of discourse."

XaXiv6s, bridle, bit. L. freni. The curbing bit is a very frequent figure

in Greek and Latin. It is particularly common as applied to orators and

eloquence. Suidas (s. v. 'E^opos) tells us that Isocrates said that "Theo-

pompus needs the bit, but Ephorus the spur." This statement is found in

Cic. de Or. 3, 9, 36 ; Brut. 204 ; ad Att. 6, 1, 12 ;Quint. 2, 8, 11 ; 10, 1, 74. Cf

.

Diog. L. 5, 39. Cf. Plin. Ep. 9, 26, 7, "laxandos esse eloquentiae frenos."

Longin. 2, 2 says of the sublime, " that it often needs the spur, Kivrpov, but

often, too, the curb, xa^n'<5s." ax^Xivos, unbridled, uncurbed. Ar, Ran. 837,

the ax. (TTbp.a of ^schylus. Eur. Bacch. 385.

K^vTpov, spur, goad. L. calcar, aculeus. In style is sting, incisiveness,

pungency; so d^tir-ns and rofii^. Philostr. V. Soph. p. 511. Lucian, Demosth.

Encom. 20, attributes to Pericles iteidovs n Kivrpov. So Eupolis Fr. 94. (Kock).

aKcvrpov, pointless, devoid offorce. Longin. 21, 1.

The tongue or the keen thought expressed by it may be considered a

sharp, pointed weapon, or instrument which does execution by its incisiveness.

So in Aristophanes (Nub. 1160) Strepsiades comically speaks of his son dfup-fiKei

y\d)TTT) \dtJ.iruv. So ibid. 321, Strepsiades' soul longs to prick or puncture

acute opinion with opinion. So the L. pungere or compungere. Cf. Cic. de

Fin. 4, 3, 7.

t|i.titik6s, lit. cutting. Met. trenchant, incisive, concise. Dion. H. de

Dem. 58, Dem. uses t-q TfirfTiK} Ppaxv\oyiq.. rpt. rt/Tros, Hermog. Anon. (Sp. Rh.

Gr. 3, p. 139) has a chapter Trepl rfiyjTiKod (rx'^p^'ros. toji'^, conciseness, Eunap.

26 METAPHOEICAL TEBMINOLOGY OP GBEEK BHETOEIC

19, 3 fDidot ed., p. 461), and <ruvTO|iia. conciseness, L. succincta brevitas andconcisus are common from Isoc. and Aristotle down. On the other hand, the

point or edge of a sentence or thought, like that of a weapon, may be dulled

or blunted; so duPXiivtiv, to blunt, dull, take the edge off. L. obtundere,

hebetare. Demet. de El. 249.

The Sea.— Greek life and history without the sea and naviga-

tion can scarcely be imagined. The literature abounds in allusions

to and figures from this source. Yet critical terms of nautical

origin are few. Among the Roman critics Quintilian, Praef. ad

Tryph. 3, speaks of "giving sail to the winds and praying

success as we loose the cable." Id. 7, Proem. 3: "Speech lacking

in dispositio is confused and floats like a ship without a helmsman."

XciC'<^t«''Oa'*-! lit. to be storm-tossed, esp. on the sea. Of an embarrassed or

labored style, PI. Phileb. 29 B ; Dion. H. Ep. ad Pomp., p. 760.

eiroKcXXciv, lit. of a ship, to run ashore, aground. Longin. 3, 4 of writers

who run aground on the tawdry and affected. This word, or rather i^oKiWeiv,

is frequently u.sed figuratively ; cf. Isoc. Ep. 2, 13 drifting into a long dis-

course. Id. 15, 268 ; 7, 18.

4. Youth, Old Age, and Sex

Youthful qualities in style may add spirit and force, but for

the most part contribute undesirable and injurious elements, viz.,

over-elaboration or tawdry ornamentation, causing frigidity or

injudicious innovations the reverse of elevation.

fuipaKtw8T)s, youthful. Of style, puerile, affected, foppish, sophomoric.

L. puerilis. From Arist. Rhet. 3, 11 (where it does not have an invidious sense)

down. Cf. Norden, 1, pp. 69, 70. veaviKos, to v€aviK6v may imply either praise

or blame. Cf. v€ap6i. to iraiSapiuScs, childishness, puerility. L. puerilis

affectatio. Longin. 4, 1. Dion. H. ad Pomp., p. 787. iraidididTjs, of Theopompus'

childish digressions.

Kdpv^a, lit. running at the nose. Met. driveling. PI. Rep. 343 A. Polyb.

and Luc.

The characteristics of old age as well as those of youth may cause faults

which are to be condemned. As Demet. de El. 7 says, ol yipovres fiaKpo\6yoi 5t4

Ti)v dffOiveiav. to irpttr^vriKdv, L. senile dicendi genus, is characterized by

slowness and prolixity. Isocrates was a favorite example ; cf. Hermog. ir. Id,

2 (Sp. 2, p. 412).

Terms denoting sex which are used in criticism are : dv8pw8T]s, virile,

masculine. L. virilis, validus ; cf. Quint. 5, 12. The opposite term, feminine,

effeminate, which is very common in Latin, effeminatus, and in English, is

apparently not used in Greek criticism to denote weaknesses and faults of

style.

irap0€vuir6s, of maiden aspect, hence soft, charming. L. venustus, mollis.

Dion. H. de Comp. 23, tt. dyd/iara.

classification and definition 27

5. Social Status

A number of critical terms will be defined under this headinor

which have their origin in the rank, occupation or financial con-

dition of members of society. With a few exceptions the terms

designate mean qualities of style.

The opposition of the rustic or boorish and the urbane or

elegant is a time-honored one. So in style we have;

aYpoiKos, lit. of the country, then boorish, rude, rough. L. rusticus,

agrestis. Dion. H. de Dem. 57, p. 1126, (popriKal Kal iypoiKoi. Karaffxevai. For<|>opTiK6s, mean, loiv, vulgar, banal, inflated, see Isoc. 238 A and 150 D. Arist.

Rhet. 2, 21, 15.

a<rT€ios, lit. of the town or city, hence poZzYe, elegant, ''smart." L. urbanus.Arist. Rhet. 3, 10, 1, to. aa-reta are clever, witty, pointed sayings, to. evSoKt^twOvra

he calls them ; metaphor, antithesis and vividness are helpful to them. Rhet.

ad Alex. chap. 22. In general, nice, pretty, witty language, ''smart sayings'' as

in Ar. Ran. 901; Nub. 204. d<rT£io-|i6s, icitticism. L. urbanitas = facetiae.

The word is late. Demet. de El. 128, 1.30: Long. 34, 2; Dion. H. de Dem. 54:]

Philostr. 540. Cf. Gerber 2, p. .320. Verb, affrei^ecreai. Quint. 6, 3, 17 defines

urbanitas as follows: "Nam et urbanitas dicitur, qua quidem significari

video sermonem praeferentem in verbis et sono et usu proprium quendamgustum urbis et sumptam ex conversatione doctorum tacitam eruditionem,

denique cui contraria sit rusticitas."

8t]|iuSi]s. of the common people. Of diction, style, vulgar, commonplace,trite, plebeian. L. oratio trita, vulgaris. Longin. 40, 2. 57;/ioTt/ca ovofxara,

Luc. Hist. Conscr. 22. tSiwrns, of common rank. Dion. H. de Lys. 3, p. 457,

id. (ppdiTLs, plain, ordinary. Ij. vulgaris ratio dicendi. Longin. 31, 2. ISiururpis,

commonplace, homely language. Longin. 31 ; Diog. L. 7, 59.

Tttireivos often of low, mean rank. Of style, low, mean. L. humilis, exilis.

Alcid. vipl (TotpiffTuv, 19. Freq. in Arist., cf. Poetics 22, 1, X^|ews 5^ dperTj <Ta^^

Kal fjL^ Taireirrr]v ehai, Hor. A. P. 229, humili sermone. Quint. 10, 1, 9, humilia

verba, vulgaria. Id. 11, 1, 6, humile et cotidianum sermonis genus.

d-yopaios, lit. of the market ; dyopaioi = the market-loafers, circumfaranei,

low class. Ar. Ran. 1015 ; PI. Protag. .347 C. Dion. H. Art. Rhet. 10, 11,

ayopaiw X^eiv, to use vulgar, commonplace ivords. L. vulgaribus verbis uti.

Luc. Hist. Conscr. 44 : "The first aim is to reveal and make clear the matter/iijre Toh dyopaiois Kal Koin/Xt/cots dv6p.a<n." ayopaioi is sometimes equivalent to

diKavLKSs, however, as in Philostr. V. Soph. 2, p. 570, dyopahi \6yoL are forensic

speeches. KainjXiKos, lit. of a huckster ; of words and style, vulgar, common-place.

Pdvavo-os, lit. working by the fire, of mechanics or artisans, a despised

vulgar class ; so of language or style, vulgarity, triviality, or bad taste.

Plutarch.

o-TpoTicDTiKos, of the military class, like a rough soldier, so vulgar, rough,

rude. L. militaris. Dion. H. de Lys. 12 of speeches of Iphicrates.

28 METAPHOEICAL TERMINOLOGY OF GREEK RHETORIC

cK<^vXos, lit. out of the tribe, alien, foreign, L. alienus, has the idea of

loss of caste. Longin. 15, 8 deival Kal fK(f>v\oi irapapdaeis ; Luc. Lexiph. 24;

Philostr. V. Soph. 2, p. 578.

cv-y4vcia, nobility of birth, nobility of speech or style. L. nobilitas. Longin.

34, 2 of Hypereides. Phot. Bibl. 77. Ael. N. A. Epilogus, t6 eiryevh rijs X^^ews,

•TrTa>x<is, beggarly, poor. Commonplace. L. humilis. Dion. H. de Comp.

4, 38, IT. vo-fifiara. Opp. term is irXov<rios, rich, of financial condition. Of style,

rich, opulent, lofty, dignified, L. opulentus, opp. to irTwx(>^. Dion. H. de

Comp. 4, 38,

6. Taste

Some very striking critical terms were suggested by the

sense of taste. Certain qualities of style, such as freshness and

charm of subject-matter, beauty of diction, euphony in compo-

sition, give the hearer or reader a feeling akin to sensuous grati-

fication. So, too, the absence of these pleasing qualities or the

presence of disagreeable elements produce on the minds of reader

or listener an effect comparable to that of insipid or disgusting

food or drink on the organs of taste.

&-yXcvK'^s, lit. sour, as of wine. In a writer, lack of yXvKiinis, sweetness and

charm. Hermog. ir. /5. 1, chap. 12 (Sp. 2, p. 330); ibid, of Thuc. (Sp. 2, p. 423),

ayXevK-fis iari ffx^Sbv Si.6\ov. So dt]8'^s, lit. unpleasant to taste (cf. PI. Legg.

660 A), of style, lack of charm, dreariness. Dion. H. Ep. ad Pomp. 2, p. 766

:

"In Plato t6 t/^os ttjs X^|ews sometimes falls eU t6 k€v6v Kal dTjS^s."

av<rTHp6s, lit. bitter, harsh to the tongue, as of water, wine. A favorite

critical term of Dion. H. Austere, stern. L. severus. Dion. H. de Comp.

chap. 22, o^. apfwvla, severe, dignified mode of composition. Id. de Isaeo,

chap. 20, Antiphon has only rb aiffr-qphv kuI Sipxatov. Ad Amm. 2, 2 ; de Dem. 8

and 48.

8pi|<.vTns, 8pi|«.\is, lit. of taste, bitter, acrid, pungent. Of style, tartness,

pungency. L. acrimonia. Arist. Soph. Elench. 33, 5, Spifirharoi X670S. As a

technical critical term it seems to be late, however. Hermog. ir. Id. 2, chap. 5,

dp. contributes to ^Oos. Cf. ibid, the synonym o|vtiis (lit. acidity, pungency),

keenness.

iriKp6s, of taste, sharp, pungent, bitter. Of style, pungent, bitter. L.

amarus. Dion. H. Ep. ad Pomp. p. 775. iriKpinis and to iriKp6v, pungency,

incisiveness, sting. L. amaritudo, acerbitas; cf. also sales. Frequent in

Dion. H., e. g. de Thuc. chap. 53, of style of Antiphon. wiKpaCvtiv, to be

repellent in composition. Dion. H. de Dem. 34, p. 1061.

o-KXifp6s, of taste and smell, harsh and unpleasant. L. durus. Arist.

Rhet. 3, 7, 6vbtmra aK\i}p6.. Of style, Dion. H. ad Pomp. p. 760.

o-Tpv({>v6TT)s and to o-Tpv<}>v6v, lit. bitter, astringent, of sour fruit. L. acri-

monia. A favorite word of Dion. H.; cf. de Thuc. chap. 53, on which Jebb,

Att. Or. 1, 35, says :" Dionysius adds rb ffrpv<f>v6p, which seems to be a meta-

phor of the same kind as aixTTtjpbv, and to mean his biting flavor." Cf. de

CLASSIFICATION AND DEFINITION 29

Dem. 34 ; de Comp. 22. Cf. <rTpi<f)v6s in ad Aram. 2, p. 793, of Thuc, whereRoberts says, ^^<rTpi<pv6s = firm, solid, of the close texture of language. But it

may be doubted whether in this and similar passages arpvcpvbs is not the right

reading." Of similar meaning is Kdpxapos, lit. of teeth of animals, sharp,

jagged. Of style and criticism, biting, keen ; Luc. Hist. Conscr. 43 , Ath. 251 E.

yXwKvrqs, lit. sweetness of taste. Of style, sweetness, charm. L. suavitas.

Pliny, Ep. 5, 8, 10. Dion. H. de Comp. 11, 7\. ttjs X^^ewj. Hermog. tt. Id. 2, chap.

4, makes 7X. contribute to ^dos and the use of myths help to 7X. ttjs X^fews. So7X. is a characteristic feature of style of Herod. Also of Xen., cf. Diog. L. 2,

57. Adj. yXvK^s = dulcis; cf. Quint. 10, 1, 73, dulcis Herodotus.

T|8ov/i, lit. pleasure, delight. Freq. of pleasure in eating and drinking.

Of style, charm, the agreeable. L. iucunditas, voluptas, defined by Dion. H.

de Comp. 11, as possessing ibpav, freshness ; x<^/>"'» grace; eva-ro/j-lav, euphony;7Xi/Ki)TijTa, sweetness ; rb n-ida.vbv, persuasiveness. Freq. in Demetrius.

(uXiXpos, lit. honey-siveet, of wine and fruit, then of speech. Cf. II. 1,

248, 249, Nestor's speech, sweeter than honey. Dion. H. de Comp. 1 ; Philostr.

V. Soph. p. 522. Cic. Or. 9, 32, Xenophon's sermo, melle dulcior.

Closely related to the subject of taste just considered are a few

very expressive terms taken from the seasoning of food and the

culinary art. A favorite Latin term is sal, sales, salsum, lit. salt,

seasoning, relish, trop. the salt of wit, witticism, facetiousness,

etc. The ^/ftc saZ/ was proverbial. " Sprinkled, seasoned (asper-

gere, spargere, perspergere) with the salt of wit" is a metaphor

in Cic. Or. 87; de Or. 1, 159; ad Att. 1, 13, 1. Cf. Dryden, 13,

p. 88, of Horace: "His wit is faint and his salt .... almost

insipid."

T|8vv£iv, lit. to sweeten, season, flavor. Arist. Poetics 6, 3, TjSva-fi^vov "Kdyov,

embellished language, i. e., ex'""''' pvOfibv Kal apfioviav Kal nfKos. Ibid. 24, 38.

Cf. PI. Rep. 607 A ; Sophist. 223 A. €<J>T)8wveiv, lit. to sweeten, give a relish to.

Used met. by Plut. Longin. 15, 6 ; 34, 2. The Latin equivalent for the

two words defined above is condire ; cf. Cic. Or. 185 :" Omnino duo sunt,

quae condiant {give a flavor to) orationem." ii8v<r|«.a, lit. in cookery, relish,

seasoning; met. of style, embellishment, piquant charm. L. condimentum.Arist. Rhet. 3, 3, 3 of Alcidamas, the orator, oi5 ykp fiSvffp.ari xRV^ai, dXX' wj

iS^ffpLari ToTs iwid^roit. Id. Poetics 6 (1450b), 17 neXonoUa is the most important of

the embellishments, p-iyiffrov tQ>v riSvafjidTuv. Dion. H. de Thuc. 23, p. 864. Phot.

Tpa-yTip.aTa, sweetmeats, dessert. L. bellaria. Dion. H. Art. Rhet. 10, 18,

TtyoviTai Toi>s iiriXdjov^, wffirep iv delirvifi, rpay-qfiara elvai tQv 'Kdytov.

1. Deities and Religion

*A4)po8£T'»i, grace, charm, attractive beauty of language or style. L. venus-

taa, decor. So Venus, cf. Hor. A. P. ; Quint. Dion. H. de Comp. 3 ; Luc. Scyth.

11. For a definition of dtppodlrr) Kal \6pa, see Lowell, Essay on Lessing, p. 226.

A synonym is, to tira^jpiSirov, charm, grace = x<^P«> L. lepor. Isoc. 10, 65, of

30 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

Homer's iir. nolrj^is. Longin. 34, 2, a/xluriTov iir., inimitable charm, of the wit

of Hypereides. Phot. Bibl. 79, t6 y\a<f)vpbv Kal iira(pp68iTov.

Scip'^v, Siren, charm ofpersuasion and eloquence. L. venustas. ^schin.

3, 228; Dion. H. de Dem. 35. Sculptured figures of Sirens were frequently set

up as embodiments of eloquence and persuasion as monuments on the tombsof orators and poets. Several such sculptures are in the National Museumat Athens.

Just as Aphrodite or the Sirens seem to be present in speech

exerting their charming influence, so Bacchus, or a divine inspira-

tion apparently coming from him, arouses speaker or writer to a

passionate fury with a result sometimes good, sometimes bad.

PaKxcCa, frenzy, furor, madness. L. furor dicendi. Longin. 32, 7

attributes this to Plato in his frequent excessive use of tropes. Id. 16, 4,

^aKxe'up.aTa of agitated state of mind of orator. -irapdpaKxos, of an orator pos-

sessed of a frenzied vehemence. L. bacchari. Plut. Dem,. 9. Cf. also Philostr.

V. Soph. 511, of Nicetes, virS^aKxoi Si Kal diOvpaiMfiiiSris. iraptvOupo-os, misplaced

or exaggerated passion, Longin. 3, 5.

fjiavCa, Jj. furor. Poets especially, " with eyes in a fine frenzy rolling," are

often regarded as being mad, possessed, or supernaturally inspired. This

idea begins in Homer, Od. 8, 499 and 22, .347. Arist. Poetics 17, 2 says that

"Poetry implies either a happy gift of nature or a strain of madness— in the

latter case, he is lifted out of his proper self." (Butcher.) So Plato, Apol. 7;

Ion 533 E and 534 C ; Phaedrus, p. 245 ; Legg. 4, 719. In Roman writers,

Cic. de Or. 46, 194 ; de Div. 1, 34 ; Hor. A. P. 296.

(vQava-ialiiv, of a writer or speaker, to be divinely inspired. In PI. Phaedr.

241 E, Socrates says, ap' ol<rd', 8tl vwb tCjv 'Nvp.tpQv, .... (ratpQi ivdoxxndffu ; so

ibid. 2.38 D. Soc. jestingly predicts that as the discussion proceeds he mayoften become vvfji(f)b\T)irro%, caught by the Nymphs, i. e., in a state of rapture

or inspiration.

«})oip6X.TiirTos, Longin. 16, 2 speaks thus of Demosth. when he uttered his

celebrated oath, ixb. roiis iv Mapaddvi kt\. {de Cor. 208) as being divinely inspired

and, as it were, frenzied by the god of Prophecy. ({*°''P°'t<''^i t^ fi^^ with frenzy,

cf. Longin. 8, 4.

KopvPavTiav, lit. to be filled with Corybantic frenzy. Longin. 5, 1, to be

crazy for novelties in literature. Kopv^os, enthusiasm. Luc. Hist. Conscr.

45, 6 TTJS TrOirjTlKlJS K.

T«(*iravCt«iv, lit. to beat the drum in religious frenzy; of an orator, to speak

in a frantic manner and use violent gestures, Philostr. V. Soph. 520. Quint.

5, 12, 22, tympana eloquentiae. A condition described by Cic. Or. 99 :" furere

apud sanos et quasi inter sobrios bacchari vinulentus videtur,"

Prom the magician's art are :

Yor]T£v€o-9oi, to bewitch, beguile, spell-bind. Gorgias Helena 14, of \6yoi..

PI. Menex. 235 A, of orators yorjTeiJovffiv rjfiQv tAs xf/vxds. Phot. 192. ki)\civ, to

charm, bewitch (often by music). L. mulcere, delinire. Of Pericles, Eupol.

Arjfi. 6, 6 ; PI. Menex. 235 A, of Homer's verses ; Protag. 315 A, k7)\uv ry <puv?

&a-irep 'Op(pe6i. Dion. H. de Comp. 3. Longin. 30, KaraKriXeTv roiis aKovovras.

CLASSIFICATION AND DEFINITION 31

Cf. Od. 11, 334, Odysseus' listeners, KtiKiidii^ 3' %(txovto. Ibid. 13, 2. kVjXtjo-is,

enchantment of eloquence. PI. Euthyd. 290 A.

\|»vxa7ft)"y£iv, xj/vxa-yw-yCa, a winning of men's souls, of Rhetoric, PI. Phaedr.

261 A. Cf . Isoc. 9, 11 ; 2, 49 ; Arist. Poetics, 6, 13 ; Dem. 1099, 10 and 1364, 8.

8. The Theatek and Festivals

The language, delivery, and gestures which are appropriate to

the actor who is interpreting a drama in the theater are not likely

to be suited to the orator pleading or speaking in court or from

the bema. In style, also, showy and pretentious qualities are

faults which are designated theatrical and histrionic in an

unfavorable sense. In display or epideictic oratory, however, as

opposed to the more prosaic forensic, some ornamentation and

even ostentation is legitimate; cf. the terms Tro/ATTi/co? and tto/att?;,

8€aTpiK6s, theatrical, showy, pretentious, histrionic. L. theatralis. Dion.

H. Ep. ad Pomp. p. 759, t6 Kofxipov BeaTpiKbv. Ibid., p. 792. Id., de Dem. 18

(p. 1007), 6.vd-qpav Kal OearpLKT]!' didXeKTov. So 8v(i,£Xik6s, lit. of the thymele. Of

style, theatrical, vulgar. Plut. 853 A, rb <j>opriKhv iv \6yoii kuI dv/xeXiKhv Kal

pdvavffov.

liriTpa'Y«8€iv, to declaim in tragic fashion, to rant, exaggerate. L. tragieo

more rem ampUJicare, exaggerare. Dion. H. de Thuc. 28 ; Demet. de El. 122.

TpaYcdSclv, of orators and writers usually in a disparaging sense, to declaim or

rant in a pompous, braggart manner. So Dem. 229, 18 ; 400, 17. In a good

sense, cf. Hermog. tt. fied. Seiv. chap. 33 of Demosth. Cf. Tpa7CKws. So iraparpa-

ycpdeiv, Plaut. Pseud. 707. irapaTpd-ywBos, pseudo-tragic, bombastic, Longin. 3, 1.

iro|X'iriK6$, to -n-oinriKov. Processional, stately, impressive, ceremonial.

L. magnificentia, splendor. Dion. H. ad Pomp. p. 786, of Theopompus' dic-

tion, wj/rfK'q T€ Kal fxeyaXoTrpenri^ Kal t6 irofiiriKbi' exovffa iroXiJ. So also of Theo-

pompus' Xi^is in 'Apx- Kp. 3. Longin. 8, 3, rd iyKcbfiia Kal ra irop.iri.Kk Kal iirideiKTiKa.

Id. 32, 5. Dion. H. 'Apx. Kp. 5, 2 (of Isoc), irop.iriK6s eixr'' . . . . ov p.r)v dyuviff-

Tt/c6s. Id. de Dem. 32. woiiirTi, pomp, parade. L. pompa. PI. Ax. 369 D,

IT. Kal pr)p.iTwv dy\ai(xpi6s. Cf. Sandys on Cic. Or. 42. Cic. de Or. 2, 94 ; 3, 177.

9. Disposition and Morals

A number of critical terms are defined here which are properly

used of the disposition, traits of character or the morals.

avOdSrjs, lit. bold, wilful, presumptuous, of persons. Of style = dignity,

almost TO ffepvbv. Arist. Rhet. 3, 3 ;" unusual y\u>TTai. have something (rep.v6v

Kal alidades, dignified and haughty." Dion. H. de Comp. 22 of Thuc, dpxaiKbv

S^ Tt Kal aij6a8es iiridelKwrai KdWos.

lKap6s, cheerful, gay. Of style, bright, joyous, radiant, genial, pleasant.

L. hilaris, amoenus. Dion. H. ad Pomp. Ill, the i\apbv KdWos of Hdt. Demet.

de El. 128, l\. \6yos. rb IXapbv = l\ap&Ti)% = hilaritas. So cf. «|>oi8p6Tris, liveli-

ness, joyousness. L. festivitas, hilaritas. Hermog. ir. IS.

32 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

(ifyoXoirpcir^s, lit. that which befits a great man, magnificent, sumptuous.

A virtue which produces grandeur in expenditures. (Arist. Rhet. 1, 9.) Of style,

elevated, stately, grand, magnificent, lofty, dignified, impressive, heightened,

colored. L. magnificus. Arist. Rhet. 3, 12, 6. Not a regular t. t. until Dion.

H. Cf. de Lys. 13, v\pr]\r} 5^ /caJ ixeyaXoTrpeiriis oiiK ecrriv i) Av(tIov X^^is. In Demet.,

passim, /x. x^-P'^^'^'^'^P is the grand style.

-yop-yos, rapid, vehement, vivid, earnest, fiery, nervous. yopy6tt)s, fiery

earnestness (Jebb), celeritas orationis (Ern.), LebhaftigJceit (Volkmann),

poignancy (Roberts). Treated by Hermog. tt. id. 1. The source of the figure

is from the grim and fierce expression of the eyes which reveal the fiery

disposition.

Sckvds, forcible, vigorous, masterly. In Demet. a type of style, 5. xapaKT'7P-

Seivoi-qs is a general term which includes all the oratorical virtues as found in

Demosthenes. Roberts suggests mastery, oratorical power, impressiveness,

nervous force, intensity, skill, resourcefulness. L. vis et virtus dicendi.

Dion. H. ad Amm. I, 3. See de Thuc. chap. 23, for a definition and the

treatise of Hermog. irepl fie66dov SeivbrriTOi. The idea of natural cleverness in

speaking was uppermost before the term became strictly technical.

o-c|iv6s, grave, dignified, noble, august. Of style, Arist. Poet. 22, 1 ; Rhet.

3, 3, 3. <r£nv6TTjs, gravity, dignity, majesty. L. gravitas, dignitas. <r. rrii

X^^ews, Arist. Rhet. 3, 8, 4 ; Hermog. ir. 15. 1.

<r<|>oSp6s, or4>o8p6TT)s, vehemence, impetuous earnestness. L. vehementia.

Hermog. tt. IS. 1.

Just as modesty, temperance, chastity, sobriety, etc., designate

prized qualities of character in the individual life and character,

so these terms are transferred in use by literary criticism to indi-

cate virtues of style and of writers. So, too, the opposite is true

as Demetrius {de El. 114) says: "As in morals certain bad qual-

ities exist side by side with certain desirable qualities, so also in

types of style, the bad exist side by side with the good."

<rw4>pov(^€iv, of a writer, to use a sober, moderate, temperate style. So

Dion. H. 'Apx- Kp. 5, 2, of Isocrates. Luc. Hist. Conscr. 57. Phot. Bibl.

99 speaks of the "X^|tj (rd^puv, (elocutio temperata), which neither goes

beyond the Attic norm nor yet is mean." Qf. Lowell, IV, p. 415, " Words-

worth's puj'ify and abstinence of style." Of similar meaning is v^<j>€i.v, lit. to

be sober, to drink no wine. Of writer or orator, to be sober, cool andmoderate. Longin. 34, 4 of Hypereides. Id. 16, 4. The opposite term is

p,cOvciv, lit. to be drunken with wine. Of writer or speaker, to be intem-

verate. L. madere, luxuriari. Isoc. (8, 13) tells the Athenians they use

as advisers the basest men who speak from the bema, Kal po/xl^ere d^fj-oriKu-

rdpovi ehai Toi>s ixeOiiovrai tujv vr]<t>bvTO)v. Longin. 3, 5: "Speakers are often

carried away, as if by intoxication {U p.4evs)." Philostr. V. Soph. p. 522.

Seneca Epist. 19, ebrium sermonem. Cic. Or. 99: "et quasi inter sobrios

bacchari vinulentus videtur."

KoXd^civ, lit. to prune, trim trees and vines (so Theophr. H. P. 2, 7, 6) ; in

Plato (cf. Gorg. 491 E) to check the desires, iiri0vp.las. Of discourse, to keep

CLASSIFICATION AND DEFINITION 33

within hounds, to he modest, to refrain from using anything which tends to

weaken excellence ; a chastised, castigated style. Ij. castigare. (Quint. 10, 1,

115, of oratio chastened. Hor. A. P. 292.) Philostr. Epist. 73, 5iaX67oi/s /coXd-

feiK. Id. V. Soph. 1, p. 505. Aristid. Rhet. devotes a chapter to /ciXao-ts toO X670U.

(Sp. 2, p. 500.) Phot. Bihl. 181. An analogous Latin term applied both to

style and to writers, is pressus, lit. pruned (cf. Verg. G. 1, 157). As a critical

term it means chaste, concise. Mayor defines it :" Pruned of all rankness,

concise, quiet, moderate, self-controlled ; opposed to extravagance, heat,

turgidity, redundance." Cf. Quint. 10, 1, 46 of Homer ; 12, 10, 38 ; Cic. de Or.

2, 96 ; Brut. 51, 202 ;Quint. 8, 3, 40 ; 2, 8, 4, and 15 ; 12, 10, 16 ; Tac. Dial. 18.

10. The Trades and Arts

In the trades and arts literary criticism finds a favorite source

from which to borrow its terminology. As has been said, oratory

and literary composition are themselves regarded as fine arts; it

is therefore natural, indeed inevitable, that the technical vocabu-

lary of analogous but more material human pursuits should be

freely levied upon for the uses of criticism.

In this general category metaphorical terms are defined which

have their origin in the following trades and arts: (a) House-

hold Management; (6) Roadmaking; (c) Medicine; [d) Weaving,

Spinning, and Embroidery; (e) Carpentry; (/) Metal-working

;

[g) Engraving; [h) Architecture; {i and j) Painting and

Sculpture,

A. HOUSEHOLD MANAGEMENT

olKovo)i,ia, lit. management of a household, administration. In Rhetoric,

arrangement of material, order. L. dispositio. A synonym for rd^ts in Arist.

Rhet. So Longin. 1, 4, ti}v tQv irpayixdrwu rd^iv Kal oUovoiiiav. Dion. H. de Thuc.

9, p. 826, names the three parts of oUovofxia : (1) Sialpecns — distributio, (2)

r&^is = ordo, (3) e^epyaa-ia = pertractatio. The metaphorical origin of the

term is explained by Quint. 3, 3, 9 :" Oeconomiae, quae Graece appellata ex

cura rerum domesticarum et hie per abusionem posita nomine Latino caret."

Cf. id. 10, 5, 14. 8ioiK€iv, lit. to keep house, then to manage, regulate. In

Rhet. = to distribute, arrange discourse. Isoc. 15, 47, 8\ov rbv \6yov dioiKoOffiv.

Dion. H. Art. Rhet. 9, 4.

Taiiwvo-flai, lit. to act as treasurer, manager, steward, also of housekeeping.

Of discourse to he sparing, restrained and modest. Dion. H. de Thuc. 51, p.

941. Philostr. V. Soph. p. 522. drafuevTias, ibid. 590.

B. ROADMAKING

Figures derived from roads, roadmaking, and travelers are not

uncommon in literary criticism. Aristotle [Rhet. 3, 14) says

that the prooemium is a pioneering, a blazing of a trail, so to

34 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

speak, for that which follows, 68o7ro{r]ai<; ra iinovTL. Demetrius

(de JEJl. 48): " Thucydides by always avoiding smoothness and

evenness of composition is like a traveler on a rough road who

seems to be constantly stumbling." Ibid. 202: "Sentences should

not be too long; they are like roads. Some roads have manyresting-places and sign-posts; the sign-posts are like guides. But

a monotonous road with no sign-posts is hard to follow though it

be short." The orator or writer when he tells a direct story pro-

ceeds along a straight path, but any divergence or deviation from

his theme is a turning-aside from the road. So the various terms

for digressions, irapaPaais, TrapcKpaffts, of which Quint. 4, 3, 12,

says: "hanc partem irapeK^aaiv vocant Graeci, Latini egressum

vel egressionem.^^ Of digressions, B. Jonson, Timher, p. 64, says:

"But why do men depart at all from the right and natural ways

of speaking? .... Sometimes for pleasure, and variety, as

travellers turn out of the high-icay, drawn either by the com-

modity of a foot-path, or the delicacy or freshness of the fields."

tKTpoirVj is perhaps the most interesting of these words. In one of its

primary meanings it refers to the turning aside from the road. It is a lane

which turns off from a highway, a " by-way " of expression. So L. deverticula.

PI. Polit. 267 A, iKTpoiTT) \6yov. Further, both iKrpoir-fi and the Latin deverti-

culum designate places where one stops for rest, turning aside temporarily

from the road. Almost equivalent to an inn. So Ar. Ran. 11.3, Dionysius

wished to learn from Heracles of all a.va.irav\a.i and iKTpoirai on the road to

Hades. Demetrius {de El. 47) says that " a succession of inns shorten long

journeys, but desolate roads, though the distance be short, seem long. Thesame is true of members (/cwXa) and of resting places in narratives." Epictetus

has an interesting comparison between travelers delaying at inns and stylists,

which is quoted by M. Arnold, Essay on Wordsworth.

C. MEDICINE

The conception of words, discourse, or reason as physicians to

the mind and its disorders is an early one. So ^schylus [Prom.

378), 6pyrj<; vocrov(T7]<; eialv tarpal Xoyoi, quoted by Cic. Tusc. 3,

31. Gorgias in the Helena (14) affirms that "Xo'709 has a power

over the soul similar to that of drugs on the body. For just as

divers drugs expel divers humors from the body and put an end

to diseases or to life, so, too, some \6yoi. cause pain, others give

delight; some inspire fear, others arouse courage in the hearers;

still others like magic potions enchant and bewitch the soul by

CLASSIFICATION AND DEFINITION 35

an evil power of persuasion." Isocrates (8, 39) says that "phy-

sicians have devised divers remedies for bodily diseases, but for

ignorant souls which teem with base desires there is no drug save

\0709," Menander repeats the old thought {fob. inc. Kock No.

559) that "X0709 is the physician for mortal grief; for it alone

has power to soothe the soul; Xeyovcrt S' avrov ol irdXai a-o(j>(o-

TUTOi aa-relov elvat <j>dp/j,aKovJ'^ Plato in the Phaedrus (270 B)

compares Rhetoric to medicine. Cf. Cic. de Or. 2, 186. Theo-

pompus the historian, is compared to a surgeon by Dionysius

(Up. ad Pomp. 785).

d\€|i.<|>dp(iaKov, an antidote. Longin. 16, 2, of the eulogies of Demosth.

Id. 32, 4. Cf. also, laTptvjtaTa, remedies. L. remedia. <t>iptiaKa to win over

hearers, Arist. RJiet. 3, 14. Cf. medicamenta, Cic. Or. 23, 78. depairevrtKds,

Trpo0€pairela.

otSciv, lit. to swell, tumere, turgere. t6 o('Ser«', of inflated style, tumidity.

L. tumor. Horace's ampullas et sesquipedalia verba, A. P. 97. Quint. 12, 10,

73, immodico tumore turgescit. Cf. Ar. Ran. 940 ff., for an elaborate medical

metaphor. Longin. 3, 4 compares evil swellings in diction to those of the

body.

D. WEAVING, SPINNING, AND EMBROIDEKY

The conception of language as a web and of style as the result

of the skilful interweaving of the threads of discourse is commonto all peoples. A literary composition is as a woven cloth whose

texture may be thin, fine, and delicate, or tangled and intricate.

Further, this product of the literary loom may be embroidered or

adorned and diversified with the flowers and varied embellish-

ments of rhetoric.

v4>a(v€iv, lit. to weave, L. texere, is used repeatedly in Homer of the

crafty weaving of schemes and plots, e. g. II. 6, 187. So, also, the verb pdirreiv.

lit. to sew or stitch. We see these words developing, in a figurative sense,

very early with reference to literary composition. Hesiod Frag. 227, (34),

refers to himself and Homer as ^i' veapois v/nvoii paxj/avres aoiS'qv. Find. N. 2, 2

calls epic poets pawTdv iiriosv doidoi. Cf. pa\l/(j>d6s, one who stitches songs together.

The word v\i.vos (hymn) itself is derived from the root Vv<(>. L. suere, Eng.

seic, and means that which is sewn or stitched together ; cf. Od. 8, 429, ii/jivoi

doidTjs, lit. stitching together of song. (So, also, Hom. Hymn 3, 451.) Find.

Fr. 179 (170), v(j>alvu .... ttoikLXov S.v5i)p.a. Bacchyl. 5, 9, v<t>dvas iip.vov. PI.

Tim. 69 A, Tbv itriXoiirov \67o»' del ^vvv(pavdrjvai. Dion. H. de Comp. 23 ; Demet.de El. 166, €vv({>a(v£iv. L. intexere. Longin. 1, 4 speaks of the whole texture ofthe com^wsition, tov &\ov tQv \6yuv ixpovs. Anaxim. Rhet. 32, avvv(j)alveiv rhv X6701',

itoikCWciv (its compounds and derivatives), is a favorite word with the

rhetoricians. Lit. to embroider, to work in various colors; hence, of style, to

36 METAPHOJBICAL TERMINOLOGY OF GREEK RHETORIC

adorn, ornament, embellish, diversify. L. ornare. Pind. Pyth. 9, 134, /3oii

iroiKlWeiv. Soph. Tr. 1121 (cf. 412); PL Menex. 235 A, of funeral orators,

K(£\Xt<rT«£ TTWS Toii 6v6fiaffi Trot/ciXXovres. Isoc. 9, 9, Tracrt roTi etdea-i dianoiKiXai ttjv

wolija-iv. Id. 13, 16. Dion. H. de Comp. 22 (Sch., p. 302), X6701 TroXXots wern-e/)

&v$€(ri iroiKiWdfievos rots iapivoXs. Frequent in Dion. H. Longin. 23, 1. iroiKiXCa,

decoration, variety. L. varietas. Isoc. 5, 27 of his ^L\i,irvos, ov5i .... ttoiki-

X/atj KeKofffiriKafiev. Id. 12, 246. Arist. Poetics 23. iroiK(\os, varied, embel-

lished, Isoc. 15, 47 of X^^ij ; Arist. Rhet. 3, 16, X670S .... TrotK^Xos /cai ou Xirbi.

0pp. to TT. is XiTos, lit. unembroidered, smooth, plain (cf. Xh in Homer of

smooth cloth). Of style, plain, simple, unpretending, unadorned. L. simplex.

Arist. Rhet. 3, 16 ; Dion. H. de Thuc. 23, p. 863, X^|iv .... rifv \itt]v Kal d.K6<rn7j-

Tov Kal fj.7j8iv ixovffav Trepirrdu. Demet. de El. 77.

irX^K€t,v (closely related in meaning to vtpalveiv and pdirreiv), lit. to plait,

weave, twine, twist. L. nectere, texere. To scheme, devise, plan; then, of

literary composition, Pind. O. 6, 146, irX. vixvov. N. 4, 153, ttX. p-qfiara. Arist.

Poetics, 18, 11, irXoKT] Kal \6a-ii, complication and unraveling .... ttoXXoJ 5^

irX^laires eS Mov(Ti /ca/cws, "Many poets tie the knot well, but unravel it ill."

SiairXeKciv, to interweave, weave together. L. intexere. Anon. (Sp. Rh. Gr. 1,

323). Cf. also (Tv/xirXiKeiv, <rvnir\oK-fi, iirnr\oK-q, dvairX^Keiv, (TvyKarairXiKeiv. iroXv-

ttXokos, tangled, involved. (Cf. noXinrXoKov vdrjua. At. Thesm. 46.3.) Dion. H.

ad Amm. 2, p. 792, a-KoXid {tortuous) Kal iroXiirXoKa {involved) Kal dvae^^XiKra

perplexed, hard to unravel. The involved style is well criticised by Jonson

Timber p. 63, " Our style should be like a skein of silk, to be carried and

found by the right thread, not ravelled and perplexed : then all is a knot."

(rTpe<|>civ avw Kal Kara, This expression Greilich (p. 43) cites as borrowed

from plaiting and weaving. <7rp4(j)eiv may be used of twisting or spinning ; cf.

Bliimner. So Xen. An. 4, 7, 15 of a rope ; met. Plut. 2, 235 E. Perhaps this

idea was sometimes present. But the ordinary meaning of the phrase <xTp. &.

K. K, is simply to turn up and doivn, this ivay and that, upside doivn. Whenused of literary composition it refers to the painstaking care and diligence of

careful writers in elaborating subject-matter and perfecting style. Cf. PI.

Phaedr. 278 D-E ; Dion. H. de Dem. 51, p. 1111, of Demosth. finish of style,

arp. &. K. K. rd fi6pia rijs X^|ews Kal ra iK toijtuv avvTid^fiepa /ccSXa. Id. de Thuc.

24 ; SierfXeae (QovKvdldrji) .... tAs oktw ^i^Xovs .... (rrp^cfxav Avu Kal Kdru

Kal KaO^ tv ^KacTTOv tQv rrji (ppdffetijs fMoplbjv pivCiv Kal ropeiuv. «rw(rTpo<j>'/|, the

twisting of yarn. Terseness, compactness, concentration. L. concinnabrevitas, conversio. Dion. H. de Dem. 18, p. 1006 ; Demet. de El. 8, to twist

up, roll into a ball, to compress, to bring into close form. From Arist.

(Rhet. 3, 18, 4) down. On this term see Sandys ed. Cic. Or. 20. Cf. also

KaTeo-rpaii^icvT] X^|is, compact, intertwisted (L. contortus), of the periodic style.

Arist. Rhet. 3, 9, 1.

elpofji€vi] (Xi^is). etpu} is lit. to string or fasten together. L. nectere. Of a

necklace [Od. 18, 296); of crowns (Pind. N. 7, 113). Of style, running. L.

oratio fusa, tracta, et negligenter pendens (Ern.). Jebb (p. 31): "It is per-

haps impossible to find English terms which shall give all the clearness of

the Greek contrast between TrepioSi/cij and eiponivrj Xi^is. The running style as

eiponivr] expresses, is that in which the ideas are merely strung together, like

beads, in the order in which they naturally present themselves to the mind."

CLASSIFICATION AND DEFINITION 37

Arist. Rhet. 3, 9, takes as his example of the running style the opening words

of the History of Herodotus. See Norden 1, pp. 38-41, for Herodotus, the

leading representative of the X^|ts dpofiivi). Demet. de El. 12 calls the

running style, 8it|pi]|A€vt) {disjointed, resolved, loose, L. divisus); 8i,aX.eXv|i,^vT)

{loose, broken up, L. dissolutus); and 8i,€ppi|j.|i,ev7) {sprawling, L. distractus).

Dion. H. de Dem. 39 calls it KOfifiariK-n, comniatic, i. e., composed of short

clauses, Kd/jLuara. Cf. SwCptiv, to string together. Dion. H. de Comp. 26,

Xoyos dietp6iJ,€vos = €lp6fievos. a-vvdpnv, to string together. L. connectere.

Dem. de El. 15 of stringing together periods. Cf. also, crvvaprdv, to knit

together. L. colligare. Demet. de El. 12 ; 193. <r<j>£'yy€iv, to bind tight. L.

constringere (Cic. vincire). Demet. de El. 244. So ffwSdv, ffOvSea-is, (nivdea/jun,

XeiTTos, subtle, precise. L. subtilis, tenuis. Dion. H. ad Pomp. 2, p. 758.

\€itt6tii9, terse simplicity. L. tenuitas. Of thin, fine texture (of garments

and the spider's web) in Homer. For the equivalent Latin terms the follow-

ing notes are instructive : subtilis ; Wilkinson, Cic. de Or. 1, 17 :" Originally

finely woven, it comes to mean, fine, then delicate ; here it has the force of

graceful, refined ; thence it passes into the meaning of precise, accurate ; it

is Cicero's usual translation for aKpi^-qi; finally it is the name for the plain

style of oratory, rb laxvbv 'yivos, and thus acquires the force of unadorned."

tenuis; Sandys, Cic. Or. 5, 20: "The primary meaning of tenuis is thin; its

metaphorical use as an epithet of style is derived, not from the notion of

slimness and slenderness of form (like la-xv^s and gracilis), but from thinness

and fineness of texture." Cf. tenue argumentandi fiZum, Cic. Or. 10, 1, 124,

and English, to lose the thread of a discourse. Shaks. Love's Labour's Lost,

V, 1 : "He draweth out the thread of his verbosity finer than the staple of

his argument."

E. CARPENTRY

The style of the writer is like the product of the labor of car-

penter or craftsman; it may be ivorked with care, accurately

joined, polished smooth and artistically finished, or the opposite

may be true.

Topvcvciv, to work with a lathe, to turn. L. tornare, rotundare. At.

Thesm. 54, Kd/nrrei 5^ j'^oj a^iSas iiruv, to. di ropveiei, rk di KoWofieXei. Two ele-

gant metaphors derived from the lathe are, PI. Phaedr. 234 E : Sti craipri Kal

ffrpoyyiXa Kal d/cpijStDs ^Ka<rra rwu duofidruv airoTerSpvevTai. Dion. H. de Dem. 43,

p. 1093, of periods, (rrpoyyvXat diffirep airb rSpvov. Cf. Hor. A. P. 441. cwTopvos,

well-turned. Met. smooth, well-turned, i. e., refined, elegant, graceful. L.

teres. Phot. Bibl. 193. Cic. de Or. 3, 199 :" oratio plena quaedam sed tamen

teres " of the Asiatic style.

(TTpo-yyvXos, lit. round, spherical. Met. compact, rounded, terse. L.

rotundus, contortus. Very common from PI. and Arist. down. See s. v.

Topveveiv. Cf. Cic. Brut. 78, 272, "verborum et delectus elegans et apta et

quasi rotunda constructio."

airo(r|ii\€v€i,v, lit. to plane oflf. Of p-^p-ara, Themist. 251 B. <rKiv8oX|io£ are

splinters or shavings. Of arguments or style, subtleties, refinements, quibbles.

Ar. Nub. 130 ; Ran. 819 ; Alciphr. 3, 64.

279':'10

38 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

ap\i6ltiv is used primarily of the joiner's art. To fit together, join. (Cf.

Od. 5, 247 and 162.) Dion. H. de Comp. 7, apfi. *cwXo Trpbs dW-qXa. Freq. in

Dion. H., also crufap/Ltirretv and irpoffapfibTTELv. L. coagmentare. See s. v. KdWr^cris,

app.ov(a, primarily of the joining of timbers. In Rhet., harmony, composition,

adjustment of words. L, apta structura, concinna orationis compositio.

Suidas s. v. gives the literal and metaphorical uses of the word. For the

harmonies of Dion. H., cf. de Comp. 22. Cope discusses the word, Introd. to

Aristotle's Rhetoric, pp. 379-387.

\ea(v€iv, lit. to make smooth, to polish. Of style, to polish. L. polire.

Also av\\ealvei.v. Frequent in Dion. H. de Comp. 16; de Dem. 43, etc. \€ios,

smooth. L. levis. 0pp. term is rpaxvs, asper. Dion. H. Demet. de El. 48,

58 passim. 48, rb \eiov Kal dfioKh rrji avv04(7eu)s — levis et aequabilis compositio.

X«i6r»is, smoothness. L. levitas. Frequent in Dion. H. Cf. Trept ixifj.-^(Teo}s 2

(Usener, p. 19). Quint. 10, 1, 52, of Hesiod, " levitas verborum et compositionis."

diraprCSeiv, to make even, round off, to perfect, j)olish, complete. L. adae-

quare. Demet. and Hermog. (Sp. 2, 241).

orvy^tiv, lit. to smooth by scraping or planing. Of style, to polish. L.

perpolire. The earliest instance noted is in Alcid. irepi (ro(f>ia-TQ)v, 20. Freq.

in Dion. H., cf. de Thuc. 24, X^|ts awe^eanivr) — elocutio polita. Cic. de Or. 1,

50; 2, 54; 3, 184. The rhetorician Hermogenes bore the surname ^va-ri^p,

polisher, perhaps owing to the polish which he recommended as one of the

principal requisites in a written composition, irepugco-p.^vos, polished. L.

politus. Demet. de El. 14 of the older style of writing, which resembles

ancient statues. Cf. Schol.Ar. iJaw. 86, Xenocles, d^ea-ro^ iv ry Tronjtret. Dryden,

XI, p. 233: "Chaucer is a rough diamond and must be polished ere he shines."

•jrcironiixevTi Xt^is, L. oratio polita et facta quodam modo, Cic. de Or. 3, 48,

184, and Brut. 8, 30, an elaborated, artistic diction the result of care. Longin.

3,4; 8.

yXa()>vp6s. It would seem that y\a(t>vp6s was connected with the arts or

handicrafts, as it means primarily hollowed {y\d(pu, yXiipia), scraped, hence

smooth. It is a favorite term as applied to style, meaning smooth, polished,

elegant, adorned. L. politics, elegans, ornatus, floridus. Dion. H. [de Comp.

21) distinguishes three styles or harmonies : (1) aiia-Ttjp6v. (2) y\a(t>vphv fi dvOrj-

pbv. (3) Koivbv. xap«'f''"'?P yXa(pvp6s is one of the four types of style of Demetrius.

Dion. H. de Dem. 40 describes the x- yXa4>vpbi.

a.Kpi^i\s, a term common from Aristotle down, in its critical use may well

have been suggested by its frequent use in the arts or handicrafts to designate

careful, accurate work or "putting on the finishing touches." As a term of

style, exact, precise. L. accuratus. dKpCptia, perfection, technical finish.

L. accuratio, ars exquisita. Isoc. 4, 11 contrasts dKpi^ris and dTrrfKpiPtafi^vos

with ctTrXwj. Id. 9, 73. Arist. Mhet. 3, 17, rbv \byov dKpLpij. Ibid. 3, 12. dKpi-

povv, to give a finish to. So diaKpi.povv. d/cpt^ets \6yoi, as in Dion. H. de Isaeo

20, are chaste, modest discourses, having no redundancy, excessive elaboration,

or theatrical display. Accuratus and accuratio are frequent in Cic. Quint.

8, 3, 49, vilis oratio is opposed to the accurata.

F. METAL-WORKING

TopEV€iv, to work metal in relief, repousse ; to chase. L. caelare, sculpere.

Of style, Dion. H. de Thuc. 24, 1, of the literary industry and accuracy of

CLASSIFICATION AND DEFINITION 39

Thuc. pivdv Kdl Topevojv. ir£pi,Top€veiv, lit. to work around in relief. Dion. H.

de Dem. 21, p. 1020, ffvyK€Kp6Tr]Tai re Kai <yvvi(Tira<TTai. Kal irepirerSpevTai rots vorjfjiaffiv

d/xeivov. Ernesti {rotunda, concisa et teres elocutio) and L. and S. (to round

off) although reading Trepirerdpevrai. translate as if it were irepiTerdpfevTai, whichindeed better fits the sense and is, in fact, read by Usener et Rademacher(Teubner). ropevros, lit. worked in relief ; met. polished, elaborate. L. cae-

latus, politus. Dion. H. de Dem. 51, p. 1112 : 'IffoKpir-qv kuI UXdruva yXwroTs

Kal TopevToh ioiKSras iK<f>ipovTas \6yovs. Anth. Pal. 9, 545, rop. tiros. TopeCa, carving

in relief, of rhet. art, Poll. 6, 141.

pivav (p£vT]), lit. to file, fine down. L. limare. Of the polish and refining

of language. Ar. Ran. 901, rbv p.kv d.<rTeT6v n \4^ai Kai KaTeppivrjfjiivov. Dion. H.

de Thuc. 24, pivQv Kal ropevuv. Hor. A. P. 291, limae labor; Ovid Trist. 1, 7,

29 ; limatus, Cic. de Or. 1, 39, 180 and Quint.

o-v7KpoT€iv, lit. of metal, to hammer or weld together. (PI. Crat. 416 B.)

Dion. H. de Dem. 18, p. 1007; id. de Isoc. 2, p. 538 of the X^|is of Isoc, o^

(TTpoyyvXr] wairep iKeivij (sc. Avfflov) Kal ffvyKeKporrmivr]. ffvyK. X^^ts, (ppdcris = terse,

"der gedrangte kurze Ausdruck" (Ern.). Of. Dion. H. de Dem. 19, p. 1010,

davyKpdrriTos.

(jTi\aXKivi\.v, lit. to forge upon the anvil. L. fabricari et formare in

incude. Arist. Rhet. 3, 19, 1, to forge a man to the will of the speaker. Cf.

Ar. Nub. 422.

<r<j)vpTJXaTos, lit. of metal, wrought with the hammer. Luc. Encom. Dem.

14, 0"^. X670S = oratio solida, compacta ; grave, dignified discourse, in no wise

frigid or bombastic. k6\\t]o-us, lit. the glueing or welding together of metals

or other materials. L. conglutinatio. In Hermog. of the union of a verse-

quotation with prose. For verb see PI. Phaedrus, 278 D, E. irpoo-KoXXdo-Bai,

lit. to stick to. Of style, to be compact, Dion. H. de Dem. 43. dK6Wr]Ta a-roi-

xeta, Dion. H. de Comp. 22 of letters which ought not to be joined together.

Ar. Thesm. 54, KoXXoficXciv, comic word, to glue verses together. Nub. 446,

\pevBQiv ffvyKoWriTTfis, fabricator of lies. In a similar way the term coagmentare

is used metaphorically in L. In its primary sense (as in Vitruv. 8, 7) it means

to join or cement together blocks of stone, wood, etc. Met. as in Cic. Or. 77

;

Brut. 68 ; de Or. 3, 171 ;Quint. 12, 10, 77, it refers to the composition and

arrangement of words in a sentence. So B. Jonson, Timber, p. 65: "Theskin and coat, cutis sive cortex (Quint. 10, 2, 15), which rests in the well-joining,

cementing and coagmentation of words, compositio." An elaborate figure

from metal-working is used by Symonds, of Ben Jonson in English Worthies,

p. 52: "He did not need to ... . tveld his borrowings into one another, but

rather having fused them in his own mind, poured them plastically forth

into the mould of thought."

G. ENGRAVING

XapaKT'^p, lit. a mark engraved or impressed, the impress or stamp on

coins, seals, etc. Of style, characteristic stamp, cJiaracter or peculiar type.

L. nota, forma. Dionysius de Dem. distinguishes three types : \jfrikb%, ele-

vated, represented by Thucydides ; icrx^b^, the plain, represented by Lysias,

and p.i(Tos, the middle, represented by Isocrates and Plato. Demetrius (.36, 37)

gives four x«paf^^pes : t(rx>'<5s, the plain; p-eyaXowpeirris, the elevated; y\a(pvp6s,

the elegant; Seiv6s, the forcible, x*/"*'^^'//"''"''"^^^ is the adj., de Lys. 11.

40 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

From money are derived the terms :

irapdcni|iios, stamped awry, falsely struck, counterfeit, eccentric. L. per-

peram signatus. Demet. de El. 208. Demosth. 307, 26, n. p^^rwp. For the

genuine stamp, cf. Hor. A. P. 58, 59. kuSuvC^cI'V, to try money by ringing. Ar.

Ran. 79 :" To ring lophon, to try what the ring is like of the poetry he com-

poses without the aid of Sophocles." KaTaKepixarC^civ, lit. to change into small

coin. Longin. 42, to divide a narrative into small sections. Dion. H. de Thuc.

9, p. 828.

H. ARCHITECTURE

With the Greeks the art of the poet or writer is closely akin

to that of the architect. So Dionysius and ^schines call the

writer an artisan, 8r)fiiovp'yo<i Xoyoov.^ The verb KaTaa-Kevd^eiv, to

build or eqtiip, is frequently used of literary composition, while

literary subject-matter is designated vXt), L. silva, literally,

building-material. We are frequently reminded by the literary

critics that architectural construction and literary composition

closely resemble each other in method and aims, Alcidamas

(•jrepl ao(f)iaTo!)v 25) speaks of a-vvepeiTreiv rrjv tmv ovoficiTcov oIko-

Bofiiav. "Composition," says Longinus (39,3), "by the building

of phrase upon phrase, erects a lofty and harmonious edifice."

So Dionysius {de Comp. 6) compares composition and building:

"The house-builder having provided the materials for construc-

tion, stones, wood, tiles, etc., has three things to consider. First,

what sort of stones, timbers, and bricks must be fitted together;

second, how and on what side to place each; third, to make suit-

able any which may not fit well, by breaking and shaping them.

Now, those who seek a happy literary composition have analogous

duties in the proper selection and collocation of the parts of dis-

course." Other elaborate comparisons are to be found in Quint.

7, 1 (Proem.); Dion. H., de Comp. 22; Longin. 10, 7; Cic. de

Or. 8, 171.

Elegant literary composition, especially clever diction and

collocation of phrases, may be aptly compared to skilfully laid

mosaic. So Carlyle {Hist, of Lit., p. 53): "The effect of Ver-

gil's poetry is like that of some laborious mosaic of many years'

putting together." Overmuch nicety, however, must be avoided.

The witty couplet of Lucilius ridiculing T. Albucius is a case in

ide Dem. 51; 'Apx. Kp. 2, 10. iEschin. 84, 36. Find. Pyth. 3, 200, poets are TiKTova. Cf.

also Ar. Eq. 530, So Eur. Androm, 476.

CLASSIFICATION AND DEFINITION 41

point (Ap. Cic. Or. 44, 149) : "Quam lepide Xe'fei? compostae, ut

tesserulae, omnes arte pavimento atque emblemate vermiculato!"

Sandys translates:

Oh! the neatly fitted phrases! all so cunningly combined,

Like the little cubes in pavements, and mosaic intertwined.

Karao-Kevatciv, to build, construct, equip, and frequently in Dion. H. of

literary composition and production, to construct, compose. KaraaKevaa-ii^vos =L. ornatus. KaracTKevfi, elaboration, embellishment. iyKardcrKevo^, elaborate,

embellished, studied. dKard^Kevos, inartificial; cf. Greilich, p. 10. dirXoOs andd^eXi^s are sometimes synonyms of aKarda-Kevos.

v\r], properly timber for building : then met. raw material. A philo-

sophical term. In Rhetoric, subject-matter. L. silva, materia. Demet. de

El. 76 ; 163. Cic. Or. 12, silva dicendi. The met. is carried further by the

words nee satis instructa, not sufficiently shaped or hewn. Subjecta materies

= viroKei/iivr) CXtj.

•n-vp-yovv, lit. to furnish with towers, to raise up to a great height. Ar.

Ran. 1004 : "^schylus, irvpydjcras p-^fiara ffep-vd, building up the lofty rhyme."

(Ct M.i\ton, Lycidas.) Pax 749 (of the poet himself): iirolrjcre rixi'v fJ-eyd\7]v

Tjtuv Kdirvpyucr^ oiKodofi'^ffas eireffi fieydXois Koi Siavolais. Eur. Sup. 998. Cf. Iiroi-

KoSopiTio-is, lit. building up. Longin. 39, 3, iir. X^^ewi' verborum constructio =crvvdecrii, dpnovla.

dvT^peio-is, Demet. de jEJZ. 12. Propping , buttressing . li. fultura. "Theidea (that of interlacing support) is the same as in the words insistere

invicem (Quint. 8, 5, 27). So the verb dvrepeldeiv in § 13." (Rob.) epcCSccrOai, to

be supported or buttressed, Dion. H. de Comp. 22. clcpcio-iia, prop, support.

Longin. 40, 4, of words supporting one another like buttresses. Dion. H. de

Comp. 16. dvTiffTTfpiytjMs, ffTrjpl^eaOcn.

28pa, foundation, basis. L. sedes. Dion. H. and Demet. The termina-

tion of a period or clause which contains some long syllables. cSpaios, well-

based, stable. L. stabilis.

-y6(ji(|>oi, lit. bolt of wood or metal for building. Ar. Ran. 824, yofKpoirayrj

p-^nara, bolt-fastened phrases. Longin. 41 :" words close together, cut up

into short syllables, held together as if by bolts, yd/Kpois."

Kovwv, lit. the mason's rule or measure ; see .^Eschin. c. Ctes., p. 588 (3, 199).

Met. very common in literature, rule, standard. L. norma, regula. Dion. H.

Art. Rhet. 11, 1 (Sch., p. 324): S« &airep Kavbva eXvai Koi arddfiTiv Kal doKlfiiov irpbs 8

Tij diro^XiTTwv dvv^fferai ttjv Kplffiv Troieiixdai. Id. de Lys. 2, p. 454 : riji 'Attik^s

y\dxr(rr]s dpicrros Kavdiv (i. e. Lysias).

TtTpd-ywvos, lit. square. L. quadratus. Met. perfect, of a writer or

speaker, Dion. H. de Isaeo 19, Anaximenes the Lampsacene, iv dn-dcrats rais

i5daii Twv \6yij3v rerpdyuvdv riva elvai ^ov\bp.evou. Cf. Cic. Or. 197, quadrandae

orationis industria, where Sandys says, "i. e. excessive painstaking in

mechanical finish ; 208, ' redigeret in quadrum ;' a metaphor from carpentry

and building, from hewing wood or cutting stone four-square, so as to allow

of the blocks being closely fitted together. Quint. 2, 5, 9, levis et quadrata

42 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

sed virilis tamen compositio." The number four and the square were

symbols for perfection with the Pythagoreans. Simonides 5, 2 of a good

man : xepffiv re /ca2 noal Kal v6(p Terpdyuvov.

I AND J. PAINTING AND SCULPTURE

In the terminology of Greek rhetoric and literary criticism we

do not find a large number of terms derived from painting and

sculpture, although ancient literary criticism abounds in com-

parisons from these arts. For oratory is regarded as a fine art

and the orator or writer as an artist. According to the ancient

standard, as much care and pains should be bestowed on literary

composition as the painter or sculptor lavishes on picture or

statue. Nettleship, p. 54, says :" The comparison between the

arts of painting and sculpture and literature . . . , as a common-

place of criticism is at least as old as Neoptolemus of Parium.

Cf. Hor. A. P. 1 ff." Sandys, Hist, of Clas. Schol, p. 178, also

seems to be under the same misapprehension, viz., that such com-

parisons begin with Neoptolemus. This is, of course, erroneous.

Cf. Simonides: "Painting is silent poetry, and poetry speaking

painting." (Plut. de Gloria Athen. 346 F.) One of the earliest

comparisons between discourse and sculpture and painting is to

be found in Alcidamas Trepl aojucnoiv 27, 28, who compares

written speeches to the productions of those arts, in that they are

but imitations of the real, giving pleasure but no profit to men.

Just as real bodies are of more service than statues, so extempore

speaking is full of life, while the written word is but a likeness

of vivid discourse. A number of such comparisons are in Plato

and Aristotle. E. g. Arist. Poetics chap. 6. (For Aristotle, cf.

Carroll, Trans. Amer. Phil. Assoc, 1898, p. liii. ) Dionysius is

especially fond of such parallels ; in the de Isoc. 3, p. 542, he

likens Isocrates' style to the art of Polycleitus and Pheidias in

dignity, impressiveness and sublimity, and Lysias to Calamis and

Callimachus, in lightness and grace. Again, de Isaeo 4, Lysias

in his simplicity and grace is compared to the older style of

painting which is characterized by correct drawing, but simple

coloring. Isjaeus' works, however, are likened to the later paint-

ings which are varied in light and shade and use many colors.

Polygnotus represents the former, Zeuxis the later school. Cf.

CLASSIFICATION AND DEFINITION 43

Quint. 12, 10, 1-6. It is unnecessary to multiply examples. It

will be sufficient to refer to Brzoska (see Appendix), who quotes

a large number of the original passages in which comparisons are

made to painting, sculpture and occasionally architecture, from

the following sources:

Cic. de Or. 1, 72; 2, 69; 2, 320; 2, 357; 3, 25; 3, 98; 3, 171; 3, 180; 3, 195;

3, 217; Brut. 66 ff.; 71; 228; 256 flF.; 296; Or. 3 flf.; 36, 65, 73, 169, 185, 234;

de Opt. Gen. Or. 5 ; de Inv. 2, 1-11 ; ad Her. 4, 6. Dionys. of Hal. de Comp.

2, p. 10; 6, p. 40; 10, p. 52; 21, p. 146; 22, p. 148; 23, p. 171, 25; de Isoc. 3,

p. 541 ; 13, p. 559 ; de Isaeo, 4, p. 591 ; de Din. 7, p. 644 ; de Thuc. 4, p. 816

;

de Dem. 41, p. 1082 ; 50, p. 1108. Demet. de El. 13, 33, 76. Longin. 17, 30,

36, 41.

XpwC'*'''' color, complexion, character of style, tone. L. color. Dion. H.ad Amm. 2, p. 793, gives the xpt^MaTa X^lews of Thucydides. By a color here

D. refers to the character or nature of the style as effected by certain forces

or qualities which are found in the thought and content of his writings;

these colors are "sting and pungency, solidity, austerity, gravity andimpressive vehemence, and above all, his power of affecting the emotions."

dX7j^€t 5^ Tivi Kal (pvffiKi^ KSKOff/jLTJcrdai x/f'^MaTi, de Thuc. 42. PI. liejJ. 601 A.

Color in Latin is often the appropriate tone, cf. Quint, 10, 1, 59 ; 12, 10, 71

:

"Non unus color prooemii, narrationis, argumentorum, egressionis, perora-

tionis servabitur." XP^K-*"''* ^'"^ ^^^o ornaments, embellishments. L. pig-

menta, ornatus. Cf. vb. pingere. Phot. Bibl. 214, xP'»'A'ao-t Kal iroiKl\na<n t^s

pt)Topela%. Cf. ad Herenn. 4, 11, 16 :" exornationes si rarae disponentur, dis-

tinctam sicuti coloribus .... reddent orationem." Cic. de Or. 100 :" oratio

Claris coloribus picta." So in English embellished or figurative language is

called colored speech. Adj. xp(^H'-°''''i-'<<'S, florid, colored.

avat<»Ypa<t>€i<rOai, of writers, to depict. Longin. 32, 5.

cv-ypa)i|ios, well-drawn, well-defined. L. bene delineatus.

Plastic Art—ir\dTT€iv, of the statuary, to mould, form, shape. L. fingere. Metaphor,

used ot fabricating, forging tvords, counterfeit speeches, etc. So dva-n-XdTTeiv.

€virXa<rTos, PI. Rep. 9, p. 588 D : \6yos einr\a<TT6T€poi Krjpov. So Cic. de Or. 3,

45, 177: "Ea (verba) nos sicut mollissimam ceram ad nostrum arbitrium

formamus et fingimus." KaK&irXaffros, Hermog. (Walz 3, 7). airXao-ros, natural,

unaffected, simple, free from adornment or elaboration. Dion. H. Art. Rhet.

10, 11 ; Phot. Bibl. 259 of Antiphon, 6.ir\6.<xTpvs ras i/oijo-ets. ir\d<r|j.a, mold, form,

manner.Tuiros, lit. print, impression, stamp (as on coins, etc., like x«P«f'''J^)- Of

sculpture in relief, plastic art. As a stylistic term, form, style, type of style,

li. forma. Dion. H. de Dem. 24; Hermog. tt. Id. (Sp. 2, p. 415). Cf. rviroOv,

iKTVToOv, dTroTvrrovv. apx^rvirov (cf. Greilich, pp. 22, 23). Longin. (13, 4) gives a

fine illustration of the term diroTviroxris :" It is not plagiarism for one author

to draw inspiration from another ; it is like taking an impression (dTroTi/n-wa-tj)

from beautiful forms or figures or other works of art." (Rob.)

44 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

€K}«,aTT€<rOai, a technical term of the plastic art and used of style. To

copy, mold, model, express. L. exprimere. Dion. H. de Dem. 13, rbp Ava-iaKbv

XapaKTTjpa iKfii/xaKTai et's dvvxa (ad Unguem, ad amussim). So airoixi,TT€(Tdai, Dion.

H. 'Apx- Kp. 3, 2.

irCvos, tinge of antiquity, classic style; tivlvaa, mellowness, fine old style;

iri.v6o)i,ai, to be tinged with archaism. The metaphor (as Roberts, ed. Dion. H.,

p. 202, says) is that of the oxidation of bronze statues, weather-marked and

mellowed, bearing upon them the patina so highly prized by the connoisseur.

(Cf., however, a schol. on Dion. H. ad Pomp. 2, p. 759, for a different explana-

tion, trlvoi— 6 pi/TTOj rjToi 6 iiri.KeliJ.evos x""^^ ^^ ^""^ fxifKoiv koL diriuv Kal dafiaiXKrjvuv,)

Dion. H. de Dem. 39 : e&yiveia Kal trefivbrrji apfxovlas rbv apxo-lov <pv\drTov(ra irlvov.

Ibid., 44 : aixp-ov fuarbv elvai Kal irlvov. From de Comp. 22 in describing the

austere harmony the meaning of the term is clear, TfiKurra dvdripd, p-eyaM^puv,

avOiKacrros, dKl)p.\pevros, rbv dpxai<rpiJbv Kal rbv irlvov exovffa /cdXXos. Cf. Cic. ad Att.

14, 7; " a Cicerone mihi litterae sane ireirivunivai et bene longae," where Tyrrell

and Purser (vol. 5, p. 232) annotate : '"quaint, classic,' Att. 12, 6, 4 (499). Again

in Att. XV, 16a, we have ireirivwij.4vui, ' quite in the classic style.' The word

irlvos means the robigo antiquitatis, the pretiosa vetustas, which makes a

work of art valuable." dpxaioirlvT)%, Dion. H. de Dem. 38. On the other hand

there may be undesirable qualities in the old-time style which are as rust and

mold which need to be rubbed off. Quint. 2, 5, 23 says that boys should

read the ancients for a solid and manly force of thought though the squalor of

a rude age is to be cleared off.

III. APPENDIX

1. The following is a list of some books which have been consulted and

referred to frequently

:

Blttmner, Technologie und Terminologie der Oewerbe und Kiinste bei Oriechen

und Romern. 4 vols.

Bray, History of English Critical Terms. (Ginn.)

Brzoska, de Canone decern Oratorum Atticorum Quaestiones.

Butcher, Edition of Aristotle's Poetics.

Causeret, j^tude sur la langue de la rMtorique et de la critique littiraire

dans Ciciron. (Paris, 1886.)

Cope, Edition of Aristotle's Rhetoric.

Ernesti, Lexicon Technologiae Graecorum Rhetoricae. (Leipzig, 1797.)

" Lexicon Technologiae Latinorum Rhetoricae.

Gerber, Die Sprache als Kunst. 2 vols.

Greilich, Dionysius Halicarnassensis quibus potissimum vocabulis ex artibus

metaphorice ductis in scriptis rhetoricis usus sit. (Suidniciae, 1886.)

Gudeman, Edition of Tacitus' Dialogus de Oratoribus.

Jebb, The Attic Orators. 2 vols.

Jonson, Timber, ed. by Schelling. (Ginn.)

Nagelsbach, Lateinische Stilistik.

Navarre, La rMtorique grecque avant Aristote. (Paris, 1900.)

Nettleship, Essays and Lectures. 2nd Series.

Norden, Die Antike Kunstprosa. 2 vols. (Leipzig, 1898.)

Peterson, Edition of Quintilian, Book X.

Roberts, Editions of Longinus, On the Sublime; Dionysius of Halicarnassus

,

The Three Literary Letters ; and Demetrius, On Style. (Cambridge.)

Saintsbury, History of Criticism.

Sandys, Edition of Cicero's Orator.

Schaefer, Edition of Dionysius, de Compositione Verborum.

Spengel, Edition of Rhetores Oraeci. 3 vols.

Volkmann, Die Rhetorik der Griechen und ROmer. (Leipzig, 1885.)

Walz, Rhetores Graeci. 9 vols.

45

46 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

2. LIST OF AUTHORS CITED

[Authors whose names are in capital letters are the most important, furnishing the

largest number of examples.]

iElian,

Machines.

^schylus.

Alcidamas {wepl (to<Pl<ttQv).

Alciphron.

Anthologia Palatina.

Athenagus.

Aristides (Rhetor).

ARISTOPHANES {Clouds, Frogs,

etc.)-

ARISTOTLE {Rhetoric, Poetics).

Anaximenes (Rhetor).

Bacchylides.

CICERO {Orator, de Oratore, Brutus,etc.).

DEMETRIUS, ^epl ip/ivdas. On Style

{de Eloc).

Demosthenes.

Diogenes Laertius.

Diodorus.

DIONYSIUS OF HALICARNAS-SUS. (1) Epistulae ad Pompeiumet Ammaeum. (2) de Compositione

Verborum. (3) de Antiquis Orator-

ibus: Indicia de Lysia, etc. (4) de

Admiranda Vi Dicendi in Demos-thene. (5) de Thucydide. (6) ArsRhetoriea. (7) de Priscis Scriptor-

ibus Censura = 'Apxe-it^" Kpierts.

Eunapius.

Euripides.

Eustathius.

Gellius.

Gorgias.

HERMOGENES, Tcpl tSewv, etc.

Hesiod.

Homer and Homeric Hymns.Horace.

Isocrates.

LONGINUS {On the Sublime = nepl

u^ous).

Lucian.

Lycurgus.

Menander, Rhetor and (2) Comicus.

Ovid.

Philostratus.

PHOTIUS, BipXiod-^Kr). (Bekker ed.

Berlin, 1824.)

PLATO.Pliny.

Plutarch.

Pindar.

Pollux.

QUINTILIAN {Institutiones Ora-

toriae).

Seneca.

Simon ides.

Statius.

Suidas.

Tacitus {Dialogus).

Theophrastus.

APPENDIX 47

3. INDICES

a) Gkeek

PpOT*)?, 19.

07/CUA09, 17.

ay\iVKi^'S, 28.

ayovo'S, 19.

ayopato;, 27.

dypoiKOS, 27.

ayulr, 23.

ayuivi^eaBai., 24,

a-ytoi'icrTTJs, 23.

dSia^vTos, 13.

dSpos, 19.

(ItjSt/?, 28.

aflAijT^s. 23.

dxaTacrKevos, 41.

aKfCTpoi', 25.

a/c^iaios, 19.

aK^tij, 19.

aKoAArjTos, 39.

dKd/iii|<evTos, 22.

dKpij3eia, 38.

a/cpi^^?, 38.

axpiPovv, 38.

axpoTT)?, 16.

dAe^i(/>dp;u.aKOi', 35.

(iAK>j, 20.

a^x^Aui/ti^, 26.

ai'a^u)ypa<^et<r9ai, 43.

dv6p(o6r)S, 26.

avBripo^, 17.

dvei^etv, 17.

di/flos, 18.

dcOCTOS, 18.

dcTep6t<7ts, 41.

a^iwixa, 15.

aTrapTi^cii', 38.

d7rAa<7TOS, 43.

dTroKVju,aTt^€ti/, 12.

a.Trona.TT€<T9ai , 44,

d7rO<7(XlA£U€lI', 37.

diroTVJrttKris, 43.

anoxj/vxa, 20.

dp/i6^6ii', 38.

apfiovia, 38.

dpxatoiriV7)9, 44.

dffSecjjs, 21.

dcrreios, 27.

d<TT6i<rfids, 27.

drafiteuTios, 33,

droi/os, 20.

auffdSijs, 31,

auo-njpds, 28.

avxti^Vpo^t 20.

di/>eAr)s, 17.

d(/>^, 24.

'A^poSirr), 29.

dxdAivot, 25.

a\l/vxoi, 20.

B

|3d9os, 17.

/Saxxe'i. 30.

jSai/avcro?, 27.

Pdpo9, 16.

jSAoKuiSris, 20.

^OVTpVxiiiLV, 23.

YAa</)upds, 38.

yAuKvs, 29.

yAuKUTTjs, 29.

70>)T€ii£<rflat, 30.

7djii<()oi, 41.

yovtfios, 19.

yopyds, 32.

•yopyOTTJS, 32.

SatruTT)?, 21.

&€iv6i, 32,

6r)(xioup7ds, 40.

SijixuiSr}^ , 27.

SiaAeAvfievJ), 37.

SiairAeKeii', 36.

Sidirvpov, 14.

SiatraAevei;', 12.

Siavyrj';, 13.

Sieipeiv, 37.

SiepptfA/oieVij, 37.

fiirjpijjuei'T), 37.

Siijpfi.ei'os, 16.

StotKetf, 33.

5pi|[xus, 28.

ivtrefeAiKTO?, 36.

iyKardiTKevoi, 41.

f'Spa, 41.

tSpalo^, 41.

cipoiLteVr), 36.

€K8po|ar), 25.

e(C|itdTTe(r8at, 44.

cKTpoTrrj, 34.

€K<fiA6'ye<T6a(., 14.

CKC^vAos, 28.

6|ll^oAI;, 24.

ein^piflij?, 16,

e/u.<^a(ri«, 15.

ei/aYunos, 24.

ei'dpyeta, 15.

ivdov<Tidieiv, 30.

evuijiaiVcii', 35.

€^aa6fveiv, 21.

e^e'peicriu.a, 41.

efoKeAAeiv, 26.

e'wai^pdSiTOV, 29.

€iriKO<r|U.eri', 22.

eirio-KOTeri/, 15.

€TTiTpaytfSflv, 31.

eTTiTpex*"'; 24.

67ri(/)vAAi'5£s, 18.

e7rix«^tfV£"'> 39.

e7rot*co5dfxrj<ri9, 41.

eTroKe'AAcii', 26.

ipeiSecdai, 41.

eiryei'eia, 28.

evypanfio';, 43,

ei'fioKt/LcoOi'Ta, 27.

eu^ufos, 22.

eu^iKTO?, 24.

eu/cdpu<^os, 16.

fvp.op^ia, 20.

euTrdAato'Tpoi', 24.

euTTtveia, 44.

€U7rAa<rTos, 43.

eupovs, 13.

€upai<rToj, 18.

eiKTTaA^j, 25.

ev(TTop.Ca, 29.

CUCTTOXOS, 24.

eiiTeAr}?, 22.

euTOpvos, 37.

e^iV^vveiv, 29.

H^Soi-ji, 29.

riSvveiv, 29.

i^i'ta, 25.

I

dearpiicds, 31.

0€pfi6';, 14.

er)pd.', 24.

SoAoOo-eai, 12.

Su/af Atxds, 31.

ioTpeujuaTa, 35.

t6iu>Tr)?, 27,

i5tu>Tt(rjLid9, 27,

iTTTrdAof^ot, 16,

i7r7roTV<^i'a, 16,

iAapdf, 31,

t<TXcds, 19,

io-xvs, 20,

KaBapov, 12,

KadapOTijt, 12.

48 METAPHORICAL TERMINOLOGY OP GREEK RHETORIC

KaKO^TjAos, 14.

icaAAos, 20.

KaAAwn-i'^eo-flat, 22.

KaAAtu7ri<r^aTa, 22,

Kaviitv, 41.

KaTTijAiicds, 27.

KaTaSpofiT), 24.

(caTafleic, 24.

Ka.TaK€piJ.aTiiei.v, 40.

(caravTA^CTai, 13.

(coToo'iceAeTev€i»', 21.

KaTa<TKeva.iei.v, 41.

(caTaCTKevT), 41.

(caTao-Tpaniyeri', 24.

KaTOiTpexeiv, 24.

KaToi/)Opet»', 12.

KaTa<t>opiK6i, 12.

»caTe<rTpofifteVj), 36.

Kivrpov, 25.

Kepavcvvai, 13.

Ke;(Vfie;>o$, 13.

KTiAeif, 30.

K^Aijcrit, 31.

KoAd^cic, 32.

KoAao'i?, 33.

KoAATiaif , 39.

KoAAof^LeActv, 39.

KoAo^df, 21.

koAttuSt)? , 23.

KO^fiaTlK^, 37.

KO/ii//ei'a, 22.

KOfii/zevecrdai, 22.

KOfXl//d$, 22.

K0JU.l//dT1If, 22.

Kopv^a^riav, 30.

Kopv/3o9, 30.

Kopv^a, 26.

Koo'/xeii', 22.

KOtTflOf, 22.

KporaAov, 23.

xpovi'ds, 13.

KTevi^fiv, 23.

KWOCDI', 23.

KuSwI'i^CCV, 40.

Ku(f>d;, 21.

Aa^^, 24.

Aa/oi7rpdf , 15.

Aa/i.irpdTi)f , 15.

Aeaii'eii', 38.

Aeros, 38.

AeioTTjs, 38.

Aen-Tos, 37.

ACTTTOTT)?, 37.

AevKOf , 15.

AiToSi 36.

Avyiajaoi, 24.

MHaKaKOi 20.

/oiaAeaKOS, 20.

fiavCa, 30.

/xeyaAoTTpeTTTJs, 16, 32.

fjLeyiOoi, 15, 20.

ficdveiv, 32.

/u.eiyfvcai, 13.

fI6lKTds, 13.

^etpaKiaiSr)^ , 26.

IxeKaiveiv, 15.

ficAixpos, 29.

/Li6Teii>pos, 16.

fJilKpOKOIilflOV, 22,

/ilKpOTI)?, 20.

HVKTrip, 20.

HVpO0T^KI.OV, 22.

N

ceat'iKOt, 26.

f^i^eii', 32.

I'U/LK^dAjJTTTOS, 30.

f>Jpds, 21.

oyKos, 16.

6So7roLT)a'it, 34.

ofvTTjs, 25, 28.

olSelv, 35.

oi/coco^ia, 33.

opflds, 17.

oif>pvt, 20.

n7rai£api<u57)f, 26.

7rdAai<r/aa, 24,

jroAaiVTpa, 24,

n-opa^aK^os. 30.

7rapd/3a(ri?, 34,

7rapd(rr)ju.os, 40.

rraparpdytuios, 31.

irope<c^a<rts, 34.

TrapivBvpcro^, 30.

jrapSevuTTOs, 26.

iro^tAd^cii', 13.

n-axws, 21.

trends, 25.

veiriviotievui, 44.

irenoi-rifxevr], 38.

Trepi/SdAAen", 22.

ireptjSoA^, 22.

7repief€(r/A€>'0s, 38.

ffepiJraTei*', 24,

irepuraTOS, 24.

TTcpiTopeutii', 39.

TTiflai'ds, 29.

jriKpaivetv, 28.

irtKpds, 28.

iriicpdTrjs, 28.

irifdo/Ltai, 44.

TTtVos, 44.

itKo.(Tp.a., 43.

TrAoTTeii', 43.

TrAe'iceii', 36.

7rAou<rto9, 28.

noiKiWiiv, 35.

iroiKtAi'a, 36.

TTOlKt'Aot, 36.

iroAvirAoKos, 36.

iroAuxous, 13.

iro(X»r^, 31.

irofiirixdt, 31.

irpea^VTiKov, 26.

irpoyWjiii'dcr^iaTa, 24.

irpoi^ayKiovi^eiv , 24.

irpoo'KoAAdo'dai, 39,

TTToJxds, 28,

nvpyovv, 41,

paTTTciv, 35,

pelv, 13,

picdf, 39.

punapo^, 20.

pu}fj.r), 20.

piun-iKos, 23,

5

Seip^f, 30,

tre/bii'ds, 32.

(TKivSaKnoi, 37.

tncArjpds, 28.

(TKOTeicdt, 15.

(TKOTl^eiV, 15.

(7'a4>^i'eia, 12.

<rTi/3apds, 20.

(TTpaTKOTifcds, 27.

<7Tpe<(>eiv, 36.

(TTpoyyuAos, 37.

<rTpo(j>ai, 24.

a-Tpvi^vdnj?, 28.

(rvyKpoTeii", 39.

(Tvyfetv, 38.

<rv»'opTai', 37.

(TUi'eipett', 37.

<rui'e|e(7'/oi€»'j), 38.

avvTOfxia, 16, 26.

(TUCTTpOC^IJ, 36.

a<i>iyyiiv, 37.

<r<t>oSp6';, 32.

<r4)up^AaT0S, 39.

o'Xon'OTej'^S, 17.

obK^poi/i^eii', 32.

Ta/bi.iEv<r0ai, 33.

T(i^s, 25.

APPENDIX 49

Tairetvds, 27.

Taxo«, 20.

TeBvrjKO';, 20.

T€Tpdy<i>VOi, 41.

T/111)TIIC0S, 25.

TOfi^, 25.

Toi'os, 20.

TOpeta, 39.

Topeveii', 38.

TopeuTO?, 39.

Topvevet;', 37.

Tpay^jjiiaTa, 29.

Tpayt^Selvy 31.

TpaxuS) 38.

rpvc^epds, 19.

TV/i7r01'l'^€ll', 30.

Tviros, 43.

irypoi, 13.

v5ap^«, 13.

vAij, 40, 41.

tifi^'os, 35.

virowarTdi^eii', 21.

virTia^eiv, 17.

liTTTlOS, 16, 17.

v^atVeiv, 35.

in^ijAds, 16.

v;//os, 16.

</)ai5pdr>)?, 31.

i^dpn-axat 35.

ijioi^a^eti', 30.

<f>0i.p6\.riirT0i, 30.

^opriKos, 27.

^wf, 15.

XaAivds, 25.

Xa/ixaiTreT^t, 17.

XapojcTTip, 39.

XapttfTijpto'Tiicds, 39.

X«P«. 29.

X«iAio^ea9ai, 26.

X^iv, 13.

XiVfia, 13.

Xpuip-a, 43.

Xu5acoAo7ia, 13.

Xi)5i)>', 13.

XUfTis, 13.

X<oAc<ifi^os, 21.

XwAds, 21.

vJ/iAdc', 21.

</(Vxa7aj7€t>', 31.

(fivxaV'^Vi") 31.

\jivxfi^v, 14.

ijivxpds, 14.

)f>vxpdT>)s, 14.

iopa, 20, 29.

Aaccuratus, 38.

acM?etts, 25.

odaegware, 38.

adipatus, 21.

agrestis, 27.

aJientts, 25.

amartis, 28.

ftwioenttas, 19.

amplitudo, 16.

amplus, 19.

animatuSy 19.

aridus, 21.

asperitas, 21.

astrictus, 13.

ofer, 15.

athleta, 23.

awcwpor, 24.

bacchari, 30.

beHtis, 22.

coeJare, 38.

calamistri, 23.

calcar, 25.

ca!idt(«, 14,

color, 14.

candidus, 15.

castigare, 33.

celeritas, 20.

certowen, 23.

cincinni, 23.

c2audus, 21.

5) Latin

coagmcnfare, 39.

colUgare, 37.

comp<MS, 22.

condimentum, 29.

condire, 29.

contenfio, 24.

contortus, 17.

cmWms, 21.

Ddeficere, 21.

depingere, 17.

deverticulum, 34.

digressio, 25.

dispositio, 25, 33.

disputatio, 24.

divisus, 37.

dormitare, 21.

dwJcedo, 19.

duJcis, 29.

dwriw, 28.

E

effeminatus, 26.

egressio, 34.

elegans, 19.

elegantia, 22.

enervatvs, 21.

exercitationes, 24.

exprimere, 44.

fecundus, 19.

fingere, 43.

flamma, 14.

fioridus, 17.

fluidus, 13.

forma, 43.

freni, 25.

frigidus, 14.

fundere, 13.

fultura, 41.

furor, 30.

fitsws, 13.

gracilis, 19.

grandis, 16.

gravitas, 16.

habenae, 25.

/leftetore, 26.

hilaris, 31.

humilis, n, 27.

moninttt*, 20.

integritas, 18.

iucunditas, 29.

Zacer«, 18, 20.

lenis, 21.

2^1' is, 38.

limare, 39.

twdMS, 24.

Jua;, 15.

50 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC

Mmadere, 32.

magnificus, 16, 32.

magnitudo, 20.

niedicanienta, 33.

militaris, 27.

miscere, 13.

mollis, 13, 20.

mulcere, 30.

viundus, 22.

mutus, 21.

NTIOSMS, 20.

neji'us, 20.

norma, 41.

riota, 39.

obscurus, 15.

opimus, 21.

opulentus, 28.

ordo, 25.

ornare, 22, 36.

o)-?iattt«, 22, 41.

ossa, 18, 20.

parvitas, 20.

pedestris, 25.

pellucens, 13.

pingere, 43.

pinguis, 21.

politus, 38.

povipa, 31.

ijressus, 33.

pnlchritudo, 20.

pungere, 25.

pwrws, 12.

Qquadratus, 41.

rectus, 17.

robigo, 44.

ro6MS<w8, 19.

ro^Mwius, 37.

rwsfictts, 27.

S

saJ, 29.

safes, 28.

salubritas, 18.

sanguis, 19.

sanitas, 18.

severus, 28.

s*ccits, 21.

silva, 40,41.

simplicitas, 17.

sptendidMS, 15.

suavitas, 29.

sublimitas, 16.

subtilis, 19,37.

SMCciJic/ws, 25.

SMCWS, 19.

supercilium, 20.

supmus, 17.

tarditas, 17.

tenuis, 19, 37.

<exere, 35.

theatralis, 31.

iinmius, 23.

tintinnabula, 23.

iornare, .37.

tumor, 16, 35.

tympana, 30.

Uurbanitas, 27.

wrftantis, 27.

M6e7-, 19.

re/ieniCMS, 14.

venari, 24.

Fereus, 29.

veJiMsitts, 26.

vis, 19.

voluptas, 29.

adorn, 22.

amplification, 16.

antidote, 35.

appearance, 15.

arid, 21.

assault. 24.

august, 32.

austere, 28.

B

barren, 19.

beauty, 20.

bewitch, 30.

bind, 37.

biting, 29,

bitter, 28.

bluster, 13.

bombast, 16,

boorish, 27.

brilliant, 15.

build, 41.

buttress, 41.

by-way, 34.

c) English

character, .39.

charm, 19, 29.

chaste, 33.

clean-cut, 25.

clear, 15.

coarse, 21.

color, 43.

colored, 43.

comb, 23.

compact, 37.

concise, 13.

conciseness, 26.

copy, 44.

counterfeit, 40, 43.

curb, 25.

curl, 23.

Ddainty, 19.

dead, 20.

depict, 43.

diffuse, 23.

dignity, 16, 31.

digression, 25.

dirty, 20.

dreariness, 28.

drift, 26.

driveling, 26.

drug, 35.

dry, 20, 21.

Eeconomy, 33.

elevated, 32.

embellish, 22.

embroider, 35.

emphasis, 13.

fiery, 14.

file, 39.

finical, 22.

flow, 13.

flowery, 17.

fluid, 1.3.

force, 20.

forcible, 32.

APPENDIX 51

orge, 39.

oundation, 41.

frenzy, 30.

freshness, 20.

frigidity, 14.

Gglue, 39.

grand, 32.

gravity, 16.

groveling, 17.

harmony, 38.

harsh, 28.

honey, 29.

inflation, 16.

intensity, 20.

invective, 24.

involved, 17.

jejune, 21.

join, 37.

joyous, 31.

keeness, 28.

knit, 37.

lame, 21.

languid, 17.

light, 15.

lists, 24.

lofty, 16.

low, 27.

lucidity, 12.

Mmadness, 30.

manicure, 23.

mean, 27.

model, 44.

natural, 43.

neat, 22.

nobUity, 28.

Oobscure, 1.5.

order, 25.

ornament, 22, 43.

pedestrian, 25.

perfume, 22.

plain, 36.

plebeian, 27.

pointless, 25.

polish, 38.

polished, 38.

pomp, 31.

processional, 31.

profound, 17.

prop, 41.

prose, 25.

prostrate, 16.

puerile, 26.

pungency, 28.

purity, 12.

Rraillery, 20.

relish, 29.

rich, 28.

running, 36.

salt, 29.

seasoning, 29.

simple, 17, 19.

smart, 27.

smooth, 38.

smoothness, 21, 38.

sober, 32.

sophomoric, 26.

sordid, 20.

spare, 19.

sparing, 33.

spur, 25.

squalor, 44,

stable, 41.

stamp, 39.

sting, 25.

strength, 20.

string, 37.

sublimity, 16.

sweeten, 29.

sweetmeats, 29.

sweetness, 29.

swelling, 16.

tangled, 36.

tawdry, 23.

terseness, 36.

theatrical, 31.

thread, 37.

translucent, 13!

trenchant, 25.

tumidity, 35.

turn, 37.

type, 43.

Uunbridled, 25.

vehemence, 32.

vigor, 19.

virile, 26.

vulgar, 27.

Wwatery, 13.

wire-drawn, 17.

witticism, 27.

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